@museumwnf/the-hijaz-railway-data 1.0.1

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+{"18c15448-b023-55e4-944b-b20b8f98eb2e":{"name":"Ciudadela de Damasco.","description":"La ciudadela era, básicamente, una ciudad dentro de otra. La fundaron los selyuqíes en 469 / 1076, en el emplazamiento de un antiguo castro romano. Hoy en día se conservan vestigios de la fortalezas romana y selyuqí, así como de las fortificaciones de Nur al-Din Mahmud ibn Zangi (m. 569 / 1174). La ciudadela fue totalmente reconstruida en tiempos de al-Malik al-Adil Sayf al-Din Abu Bakr, en los años 599-610 / 1202-1214. A pesar de los numerosos cambios producidos y el uso continuado que se le dio durante los periodos mameluco, otomano y contemporáneo, el grueso de la ciudadela de al-Malik sigue intacto.  \nEl conjunto de la ciudadela es casi rectangular –mide 220 × 150 m–, y la esquina noroccidental de la muralla está curvada hacia el interior para adaptarse al río Barada. Desde fuera no se aprecia la inmensidad de la construcción, porque se encuentra en medio del zoco al-Hamidiyya. Inicialmente, los muros norte y oeste dominarían el campo, mientras que los muros sur y este daban a la ciudad.  \nLas fases de fortificación de la ciudadela se diferencian por la discontinuidad de la mampostería. Las refortificaciones que se distinguen más fácilmente son las de al-Malik al-Adil, que reparó totalmente la muralla selyuqí original con piedras romanas más grandes, posiblemente extraídas del antiguo y cercano templo de Júpiter. En el exterior del perímetro de las antiguas torres selyuqíes se construyeron torres ayyubíes *(bury)* y se mantuvo una galería que comunicaba ambas construcciones. Este proceso de ampliación de fortificaciones selyúcidas durante el periodo ayyubí se dio en numerosas alcazabas sirias, como las de Bosra y Alepo.  \nLa ciudadela de Damasco es conocida por sus numerosos *bury*; se conservan 12 de un total de 16 ó 17. Dispone de cuatro puertas, una en cada lado, todas con una poterna cercana. El punto de mejor ubicación estratégica era la puerta norte. Los tres bury que la rodean, la puerta con reja de hierro, el pasadizo de entrada –no directa– y el puente levadizo que cruza el foso hacen patente su carácter defensivo. La puerta oriental, por su parte, es la de mayor esplendor artístico, ya que era la entrada formal a la ciudadela. Posee el primer portal con mocárabes de piedra de Damasco y está decorado con numerosas inscripciones y hermosas pinturas. Los restauradores han logrado destapar todo un repertorio de motivos decorativos en los mocárabes, incluidas pinturas de las épocas ayyubí, mameluca y otomana.  \nEl portal de mocárabes de piedra da a una sala de nueve cúpulas que quizá era el salón del trono. Se trata de una sala cuadrada con una cúpula central sustentada por gruesos pilares con capiteles romanos. Aún se ignora si tiene algo que ver con la residencia de la corte ayyubí, pero actualmente se están realizando importantes excavaciones en el lugar.  \nAl igual que otras alcazabas de la época, la ciudadela de Damasco fue la residencia de la élite gobernante y escenario de las Cruzadas, como durante el asedio de Damasco que tuvo lugar en 542 / 1148. En general, el estilo arquitectónico y las sofisticadas técnicas de construcción reflejan evidentes influencias de Alepo.","short_description":"La ciudadela de Damasco delimita la esquina noroeste de la ciudad vieja. Es inmensa (220 × 150 m aprox.), y fue el soberano ayyubí al-Malik al-Adil quien realizó las principales fortificaciones en los años 599-610 / 1202-1214. El punto más importante estratégicamente es la puerta norte, la “puerta de hierro”, protegida por un puente levadizo, tres torres y una entrada no directa. La puerta este, la más ornamental, está decorada con mampostería, inscripciones e incluso pinturas. Excavaciones recientes han descubierto un taller medieval de armas de metal en la parte suroccidental de la ciudadela.","dates":"599-610 de la Hégira / 1202-1214 d. C.","location":"Damasco","method_for_datation":"La datación del monumento se basó en una inscripción que se encuentra en la torre norte y que data de 610 (1213-14).","bibliography":"Allen, T., “Ayyubid Architecture”, *Occidental* (publicación electrónica, 7.ª edición), 2003.  \nGardiol, J., “Le Palais ayyoubide de la citadelle de Damas: Premières données archéologiques et nouvelles observations”, *Bulletin d’Etudes Orientales*, supplement *Citadelle de Damas*, vols. 53-54, Damasco, 2002, pp. 47-58.  \nHanisch, H., *Die ayyubidischen Toranlagen der Zitadelle von Damascus*, Wiesbaden, 1996.  \nSauvaget, J., “La citadelle de Damas”, *Syria*, 1930, pp. 59-90 y 215-241.","patrons":"Al-Malik al-Adil Sayf al-Din Abu Bakr, gobernante de Damasco y El Cairo en 592-615 / 1196-1218.","architects":"Hay estudios que sugieren la participación de arquitectos de Alepo. En una decoración de estuco se aprecia la firma de un artesano desconocido, Abu al-Wayd.","author":"Abd al-Razzaq Moaz","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["arquitectura militar","ciudadela","mocárabes.","puertas","torres"]},"1998f916-ba83-52b2-8f1d-49d4257dccba":{"name":"Fortaleza de al-Qatrana","description":"Qatrana, importante parada en la ruta jordana de peregrinación, se encuentra junto a la carretera del desierto, al oeste de la vía férrea del Hiyaz. El lugar comprende una pequeña fortaleza rectangular (22,2 × 17,35 m) y un gran aljibe de 70 × 70 m. La altura media de la fortaleza es de 10 m. Sus cuatro fachadas presentan almenas y saeteras con dos tipos de matacanes. Dichos matacanes miden por fuera 2 × 2 m y sobresalen 50 cm de la fachada. El que corona la entrada presenta una ventana en arco y una saetera a cada lado. Los demás tienen tres saeteras normales cada uno.  \nLa puerta de entrada está en el centro de la fachada sur. Consta de un porche poco profundo, un vestíbulo con bóveda de crucería y un pasadizo que conduce a un patio rectangular (18,6 × 4,1 m) cuyo techo está formado por grandes vigas de basalto; tiene ocho salas dispuestas alrededor. El lateral más largo del patio es el que se extiende de este a oeste; en el lateral oriental hay un tramo de escaleras que conduce a la primera planta, donde hay siete estancias –a las que se accede por una estrecha pasarela– dispuestas en torno al patio. En el lateral este hay otro tramo de escaleras que desemboca en los tejados de estas salas.  \nEn la construcción se utilizaron piedra caliza y basalto. Los muros estaban enlucidos por dentro y por fuera.","short_description":"Qatrana, importante etapa de la ruta jordana de peregrinación, está 90 km al sur de Ammán. Comprende una pequeña fortaleza rectangular y un gran aljibe, construidos junto con otros fuertes en 937 / 1531 para proteger la ruta creada por el sultán Suleyman el Magnífico. Los muros tienen almenas, saeteras y matacanes. La entrada presenta un porche poco profundo, un vestíbulo con bóvedas de cañón y un pasillo que conduce a un patio techado con grandes vigas de basalto.","dates":"937 de la Hégira / 1531 d. C.","location":"Qatrana","method_for_datation":"La fortaleza se construyó en 937 / 1531 con el objetivo específico de proteger la ruta de peregrinación que creó Suleyman el Magnífico durante su sultanato (928-973 / 1522-1566). Las fortalezas de Dhaba y Maan se construyeron con este mismo fin.","bibliography":"الكردي.حنان، القلاع الأثرية في الأردن، عمان، 1984، ص 37–38.  \nBurckhardt, J. L., *Travels in Syria and the Holy Land*, Londres, 1882, p. 658.  \nDoughty, C. M., *Travels in Arabian Deserts*, Londres, 1926, p. 58.  \nPeterson, A., “Early Ottoman Forts on Darb al-Hajj”, *Levant*, Vol. XXI, 1989, pp. 97-117.","patrons":"Sultán Suleyman el Magnífico (r. 928-973 / 1522-1566).","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["agua","aljibes","almenas","contrafuerte","depósito de agua.","torres","vía férrea del Hiyaz"]},"44db66ac-94d1-513a-affd-eaec477e9022":{"name":"Ciudadela de Ammán (conjunto).","description":"Las tropas musulmanas lideradas por Yazid ibn Abi Sufyan conquistaron Ammán en el año 13 / 634. Bajo el gobierno omeya, Ammán fue capital del distrito de al-Balqa. En la alcazaba de se construyó un nuevo complejo residencial y administrativo (Dar al-Imara). La ciudadela (\\*al-qal‘a\\* en árabe), está enclavada en una elevación natural bien delimitada en el corazón de la antigua y la moderna Ammán. La ciudad omeya consta de un complejo palaciego, unos baños y un hondo aljibe circular. También posee una plaza central, una mezquita aljama y dependencias residenciales, todo dentro de murallas. La proximidad de Damasco, el centro de poder, unida al hecho de que la región estuviera habitada por tribus tradicionalmente aliadas con la dinastía omeya, generó una atmósfera favorable para el desarrollo económico de al-Balqa en general y de Ammán en particular. En la época omeya, la ciudad experimentó un crecimiento propiciado por su situación estratégica dentro de las rutas de peregrinación y comercio entre Damasco y el Hiyaz. Al trasladarse a Irak el centro político del Estado islámico, Ammán perdió parte de su importancia política; en la época abbasí (132-358 / 750-969) sufrió un ligero declive, que se acentuó en el periodo fatimí (358-566 / 969-1171). En el siglo VIII / XIV, casi había desaparecido de la memoria histórica. El historiador árabe medieval Abu al-Fida escribió acerca de Ammán en 720 / 1321: “Una ciudad muy antigua que quedó en ruinas antes de la llegada del Islam”. En 1296 / 1879, el gobierno otomano ayudó a inmigrantes procedentes del Cáucaso a establecerse en diversas zonas de Jordania, incluida Ammán, que en 1921 pasó a ser la capital del recién creado Emirato de Transjordania fundado por el emir Abdullah I (posteriormente rey). Haga clic \\[aquí\\](< https://youtu.be/yHVm\\_pbN70Q>) para ver una presentación en video de este objeto (en inglés).","short_description":"La ciudadela de Ammán es una elevación natural que está dentro de la ciudad. Las tropas musulmanas, lideradas por Yazid ibn Abi Sufyan conquistaron Ammán en 13 / 634; bajo mandato omeya fue capital del distrito de al-Balqa. La ciudadela omeya posee, dentro de las murallas, un palacio, unos baños, un aljibe, una plaza, una mezquita aljama y casas. Ammán floreció en época omeya por su proximidad con Damasco, pero comenzó a decaer con los abbasíes. La ciudad estuvo abandonada entre el siglo VIII / XIV y el año 1296 / 1879, cuando los otomanos ayudaron a inmigrantes del Cáucaso a establecerse en ella.","dates":"Alrededor del año 110 de la Hégira / 728 d. C.","location":"Ammán","method_for_datation":"La datación se basó en fuentes históricas y excavaciones arqueológicas.","bibliography":"Almagro, A., “El palacio omeya de Ammán”, *La Arquitectura*, Madrid, 1983.  \nCreswell, K. A. C., y Allan, J. W., *A Short Account of Early Muslim Architecture*, El Cairo, 1989, pp. 169-173.  \nKhouri, R. G., *Amman: A Brief Guide to the Antiquities*, Ammán, 1988, pp. 16-18.  \nKoutsoukou, A., et al., *The Great Temple of Amman: The Excavations*, Ammán, 1997, pp. 12-16.  \nNorthedge, A. E., *Studies on Roman and Islamic Amman*, Vol. I., Oxford, 1992, pp. 74-104.**","patrons":"Hisham ibn Abd al-Malik (105-125 / 724-743).","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["aljibe.","baños","complejo palaciego","dependencias residenciales","entrada monumental","mezquita aljama","murallas","plaza"]},"912b204e-c92a-58e3-8cab-b04e1caa9f7e":{"name":"Cúpula de la Roca","description":"La Cúpula de la Roca es uno de los monumentos islámicos más antiguos que se conservan. Con su forma grandiosa, forma parte de un reducido grupo de edificios del mundo islámico que marcan el nacimiento y posterior desarrollo del arte islámico en general.  \nEs un edificio de planta octogonal cubierto por una gran cúpula semicircular que descansa sobre un tambor circular. Sus cuatro puertas, una por cada punto cardinal, están integradas en los muros del edificio. La parte inferior de las fachadas está revestida de paneles de mármol y la parte superior, de azulejos que datan de la época del sultán Suleyman el Magnífico, que en 952-59 / 1545-1552 ordenó sustituir el mosaico original de vidrio. Los paneles de mármol también se han renovado en varias ocasiones. El tambor que sostiene la cúpula está decorado en su interior con un mosaico de teselas vidrio. La parte exterior de la cúpula está revestida de paneles de cobre chapados en oro, aunque originalmente estaba cubierta de plomo bañado en una fina capa de oro.  \nEl interior y el exterior de la Cúpula de la Roca obedecen a una disposición octogonal en torno a la roca venerada. Según la fe islámica, la roca es el lugar desde el cual el profeta Muhammad ascendió a los cielos *(miray)* la noche de su viaje desde La Meca a Jerusalén *(isra)*. El interior está sostenido por ocho pilares y dieciséis columnas. La rotonda reposa sobre cuatro pilares y doce columnas. Entre los pilares y las columnas se abren arcos semicirculares decorados con composiciones en azulejo y coloridos textos epigráficos. Una doble cúpula cubre la rotonda. La cúpula interior tiene un diámetro de 20,44 m y se considera la estructura de madera más antigua que se conserva. Se compone de tableros con inscripciones y decoración geométrica sobre un fondo de estuco blanco. El tambor, que tiene dieciséis ventanas, está decorado con mosaicos e inscripciones del Corán; posee también numerosas inscripciones que corresponden a diferentes proyectos de restauración realizados por diversos califas y sultanes musulmanes. Las restauraciones más famosas son las de las épocas omeya, ayyubí, mameluca y otomana. La cúpula carece de decoración figurativa, lo que refleja el cambio de mentalidad religiosa.","short_description":"Joya de la arquitectura islámica y el monumento islámico más antiguo que menos cambios ha sufrido. Es testimonio de la creación y desarrollo de la arquitectura y el arte decorativo islámicos al tiempo que uno de los monumentos considerados como más bellos del mundo. De planta octogonal, su exterior está recubierto de mármol y azulejos de reflejo metálico. El interior está decorado con mármol, mosaicos, escayola y madera. Su gran cúpula dorada es el símbolo de Jerusalén.","dates":"72 de la Hégira / 691 d. C.","location":"Jerusalén","method_for_datation":"Raya ibn Haywa y Yazid ibn Salam participaron en la construcción de este edificio. El nombre del artesano Muhammad ibn Balawar se relaciona con las renovaciones efectuadas en la época fatimí. Mustafa Raqm está relacionado con las últimas restauraciones otomanas (siglo XIII / XIX).","bibliography":"Al-Natasha, Y., *Qubbat al-Sajra al-Mushrafa: Yawhara al-Quds wa al-Masyid al-Aqsa al-mubarak \\[La Cúpula de la Roca: la joya de Jerusalén y la primitiva mezquita de al-Aqsa\\]*, Jerusalén, 2002.  \nCreswell, K. A. C., *Early Muslim Architecture*, Vol. 1, Oxford, 1932.  \nGrabar, O. y Nuseibah, S., *The Dome of the Rock*, Nueva York, 1996.  \n*Peregrinación, ciencias y sufismo. El arte islámico en Cisjordania y Gaza*, Madrid, 2004, pp. 54 y 76-78.  \nRichmond, E. T., *The Dome of the Rock in Jerusalem: A Description of its Structure and Decoration*, Oxford, 1924.","patrons":"El califa omeya Abd al-Malik Malik ibn Marwan (r. 65-86 / 685-705). Numerosos califas y sultanes renovaron este edificio. Las restauraciones más importantes fueron las del califa fatimí al-Zahir (r. 411-427 / 1021-1036), el sultán Salah al-Din Ayyubi (Saladino, r. 564-589 / 1169-1193) y el sultán otomano Suleyman el Magnífico (r. 926-974 / 1520-1566).","author":"Yusuf al-Natsheh","copy_editor":"Majd Musa","translator":"Lucía Arias","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Azulejo de cerámica","chapado en oro.","cobre","cúpula","cúpula de madera","doble cúpula","Isra’","kashani (azulejos de cerámica)","Mi’ray","mosaico","octogonal","roca","roca del al-bayt al-muqaddas"]},"b09beb3b-1d0b-53ab-b342-7ea606b4ebe1":{"name":"Al-Mudawwara","description":"Este complejo de al-Mudawwara era la última etapa en la ruta de peregrinación antes de llegar a las fronteras saudíes; comprendía un alcázar, un aljibe y una vía pavimentada.  \nEl alcázar era de planta cuadrada (19 × 19 m) y aún se conserva hasta una altura máxima de nueve metros. La estructura completa se construyó con bloques de piedra arenisca. En el exterior posee pequeñas torres situadas en las esquinas superiores; las esquinas inferiores se reforzaron con contrafuertes a una altura de alrededor de un metro del suelo. Los muros presentan dos filas de ballesteras. Las zonas superiores de los muros norte y oeste son planas, pero las de los muros este y sur están decoradas con almenas. A este respecto, hay que destacar que los muros norte y oeste son ligeramente más altos que los otros dos y presentan una mampostería diferente en la parte superior, porque lo más probable es que se construyeran en periodos posteriores.  \nLa entrada del complejo está en el centro del muro oriental. Es rectangular y desemboca en un pasillo con bóveda de cañón que conduce a un patio central (de 8 × 8 m aprox.). La entrada está resaltada con un gran matacán (de 5,5 × 2,5 m) o ventana saliente, compuesto por una ventana grande –con una rendija a cada lado– que descansa sobre un arco sustentado por ménsulas. En la planta baja hay nueve salas con bóvedas de cañón dispuestas en torno al patio central. A ambos lados del pasillo hay escaleras que suben al primer piso. En la primera planta hay nueve salas más, de diversas formas y tamaños, dispuestas también alrededor de un patio central.","short_description":"El complejo de al-Mudawwara, última etapa jordana de la ruta de peregrinación al Hiyaz, comprende un alcázar, un aljibe y una vía pavimentada. El alcázar (de la época de Abdullah Paşa, gobernador de Damasco en 1142-1145 / 1730-1733), es de bloques de piedra arenisca y con planta cuadrada (19 × 19 m). Los muros presentan dos filas de ballesteras. La parte superior de los muros norte y oeste es plana; los muros este y sur, más pequeños y quizá más antiguos, están decorados con almenas. Encima de la entrada hay un gran matacán sobre un arco sustentado por ménsulas.","dates":"1142-1145 de la Hégira / 1730-1733 d. C.","location":"Al-Mudawwara","method_for_datation":"El alcázar se dató en la época de Abdullah Paşa (gobernador de Damasco de 1730 a 1733) mediante el estudio de documentos históricos. Los análisis estilísticos apuntan a que las salas del piso inferior estuvieron dispuestas alrededor de un patio central. Peterson (1986) estima que al-Mudawara y al-Hasa datan de principios del siglo XII / XVIII.","bibliography":"Burckhardt, J. L., *Travels in Syria and the Holy Land*, Londres, 1882, p. 659.  \nDoughty, C. M., *Travels in Arabia Deserts*, Londres, 1926, p. 97.  \nEdib, M., *Manasik al-Hajj*, Estambul, 1779.  \nMusil, A., *The Northern Hegaz: a Topographical Itinerary*, Nueva York, 1926.  \nPeterson, A., *Early Ottoman Forts on The Hajj Route in Jordan*, tesis de máster inédita, Universidad de Oxford, 1986, pp. 108-116.","patrons":"Aydinli Abdullah Paşa, gobernador de Damasco (1142-1145 / 1730-1733).","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["alcázar.","aljibe","bóveda de cañón","contrafuerte","torre de esquina"]},"fd051a6c-6d76-5872-b5f1-48712d9ee72b":{"name":"Amuleto “ojo de la envidia”.","description":"Este “ojo de la envidia” está realizado en un disco de vidrio azul moldeado y decorado con círculos concéntricos menguantes de color amarillo y blanco, y un punto negro en el centro. Se trata, probablemente, de una cuenta, ya que en un lado tiene un agujero para ser ensartado. Este tipo de ojos de vidrio se cosía también a prendas de vestir y tocados.  \nSegún una creencia popular islámica, los ojos azules eran “envidiosos”, y estos amuletos se llevaban precisamente para repeler tal poder negativo reflejando contra el envidioso su propia envidia y protegiendo de este modo al portador de las enfermedades y desastres que, se creía, causaban los celos.  \nLa calidad de su elaboración no determinaba su poder protector, por lo que estos ojos podían ser tanto piezas toscas (esta es un ejemplo) como objetos artesanalmente refinados (como los que adornan joyas de oro y plata). A veces se utilizaban cuentas de color azul liso en vez de estos ojos, ya que tenían el mismo poder protector.","short_description":"Según una creencia popular de Oriente Medio, los ojos azules son al mismo tiempo “envidiosos” y protectores contra la envidia. Este ojo azul de vidrio se llevaba para proteger a su portador de los celos, que podían causar la pérdida de aquello por lo que se es envidiado, enfermedades o desastres.","holder":"Galería de Arte y Museo Kelvingrove, Museos de Glasgow.","dates":"Finales del siglo XIII–principios XIV de la Hégira / XIX-XX d. C.","location":"Escocia.","dimensions":"Diámetro 2 cm.","method_for_datation":"Análisis estilístico: muchos otros objetos similares en fabricación, tamaño y color han sido datados en época otomana.","method_for_provenance":"Existen muchos otros objetos similares procedentes de Hebrón.","provenance":"Hebrón (Palestina).","obtention":"Comprado por el museo en 1912.","bibliography":"Budge, E. A. W., *Amulets and Superstitions*, Londres, 1930.  \nWeir, S., *Palestinian Costume*, Londres, 1989.","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["decoración figurativa","joyería","objetos religiosos"],"materials":["Vidrio moldeado y coloreado."]}}

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+{"18c15448-b023-55e4-944b-b20b8f98eb2e":{"name":"Citadelle de Damas.","description":"La citadelle était une ville dans la ville. Elle fut fondée par les Seldjoukides en 469 H / 1076 J.-C. sur le site d'un ancien *castrum* ou camp militaire romain. Des vestiges des forteresses des Romains et des Seldjoukides subsistent encore aujourd'hui, de même que certaines fortifications de Nour al-Din Mahmoud bin Zangi (m. 569 H / 1174 J.-C.). Elle a été entièrement reconstruite par al-Malik al-'Adil Sayf al-Din Abou Bakr au cours des années 599-610 H / 1201-1214 J.-C. En dépit de nombreuses modifications et d'une utilisation permanente au cours des périodes mamelouke, ottomane et moderne, la masse de la citadelle d'al-'Adil est restée intacte.  \nDe forme quasi rectangulaire, le complexe mesure 220 x 150 m. L'angle nord du rempart s'incurve pour s'adapter au cours du fleuve Barada. L'immensité de la construction ne se discerne pas de l'extérieur car elle est imbriquée dans le quartier du souk al-Hamidiyya. Les murs nord et ouest donnaient jadis sur la campagne, les murs sud et est sur la ville. Les différentes phases des travaux s'identifient à la qualité de la maçonnerie. La partie la plus aisément datable correspond aux renforts des fortifications entrepris par al-Malik al-'Adil. Il fit entièrement redresser les vieux murs seldjoukides au moyen de lourds blocs de pierre romains, probablement prélevés sur l'ancien temple de Jupiter voisin. Les nouvelles tours ayyoubides (*burg*) ont été élevées hors du périmètre des Seldjoukides, une galerie étant aménagée entre les anciennes et les nouvelles pour la communication. Cette extension ayyoubide par-dessus les fortifications seldjoukides s'observe dans de nombreuses citadelles syriennes dont celles de Bosra et d'Alep.  \nLe complexe damascène est réputé pour ses nombreuses tours dont 12 subsistent sur les 16 ou 17 d'origine. Elle possède quatre portes, une sur chaque côté, chacune précédée d'une petite poterne. Le point le plus stratégique était la porte nord. Ses trois *burg*, son portail à barres d'acier, son passage d'entrée contourné et son pont-levis au-dessus d'une douve soulignent son caractère défensif. La porte orientale est néanmoins la plus intéressante sur le plan artistique car elle était l'entrée officielle. Elle présente les premiers porches à *mouqarnas* édifiés à Damas, abondamment inscrits et superbement peints. Les restaurateurs ont pu réhabiliter tout un répertoire de motifs décoratifs sur les *mouqarnas*, dont des traces de peintures des époques ayyoubide, mamelouke et ottomane.  \nLe porche à *mouqarnas* de pierre conduit à un hall à neuf voûtes souvent interprété comme une salle du trône. Il s'agit d'un volume carré à coupole centrale soutenu par de lourds piliers à chapiteaux romains. Les importantes fouilles en cours n'ont pas encore pu établir s'il s'agissait d'une résidence palatiale ayyoubide.  \nComme d'autres citadelles de la période, celle de Damas fut une résidence princière et l'objet de durs combats avec les Croisés, dont le siège de Damas en 542 H/1148 J.-C. En général, ce style architectural et ces techniques de maçonnerie très élaborées reflètent une forte influence alépine.","short_description":"La citadelle s'élève à l'angle nord-ouest de la vieille ville. De vastes dimensions (220 x 150 m), ses fortifications ont été renforcées par le souverain ayyoubide Al-Malik al-Adil en 599-610 H / 1202-1214 J.-C. La défense essentielle est la porte septentrionale, appelée “porte d'Acier”, protégée par un pont-levis, trois tours et un passage d'entrée contourné. La porte la plus ornementale est celle de l'est. Elle présente des inscriptions et même des peintures sur un bel appareil de pierre. Des fouilles récentes ont mis au jour des forges d'armurerie dans le quartier sud-ouest de la citadelle.","dates":"599-610 de l'Hégire / 1202-1214 J.-C.","location":"Damas","method_for_datation":"Présence d'une inscription sur la tour nord, datée de 610 / 1214.","bibliography":"Allen, T., “Ayyubid Architecture”, Occidental (publication électronique, 7e édition), 2003.  \nGardiol, J.-Bl., \"Le Palais ayyoubide de la citadelle de Damas : Premières données archéologiques et nouvelles observations\", *Bulletin d'études orientales*, Supplément *Citadelle de Damas*, vol. 53-54, Damas, 2002, pp. 47-58.  \nHanisch, H., *Die ayyubidischen Toranlagen der Zitadelle von Damascus*, Wiesbaden, 1996.  \nSauvaget, J., \"La citadelle de Damas\", *Syria*, 1930, pp. 59-90, pp. 215-241.","patrons":"Al-Malik al-‘Adil Sayf al-Din Abou Bakr, souverain de Damas et du Caire en 592-615 H / 1196-1218 J.-C.","architects":"Les chercheurs ont établi la participation d'architectes alépins. On a également trouvé sur un décor en stuc la signature d'un artisan inconnu, Abou al-Wajd.","author":"Abd al-Razzaq Moaz","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["architecture militaire","Citadelle","mouqarnas","Portes","tours"]},"1998f916-ba83-52b2-8f1d-49d4257dccba":{"name":"Forteresse d’al-Qatrana.","description":"Importante étape jordanienne sur la route des pèlerinages, Qatrana s'élève à 90 km environ au sud d'Amman, au bord de la route du désert et à l'ouest de la voie ferrée du Hedjaz. Le site comprend une petite forteresse rectangulaire (22 x 17,35 m) et un grand réservoir d'eau (70 x 70 m). La hauteur moyenne des murs est de 10 m. Les quatre murs étaient crénelés, dotés de meurtrières de deux types différents et de bretèches de 2 x 2 m en projection de 50 cm par rapport aux murs. Celle de la porte d'entrée est à fenêtre arquée flanquée de deux meurtrières.  \nL'ensemble de la porte d'entrée, implanté au centre du mur méridional, comprend un porche, un vestibule à voûtes croisées et un passage conduisant à la cour, dont la couverture reposait jadis sur de grandes poutres de basalte. Huit salles sont disposées autour de la cour rectangulaire de 18,6 x 4,1 m orientée est-ouest. Côté est, une volée de marches mène à l'étage qui compte, autour de la cour, sept pièces entourées d'un étroit passage de desserte. Une volée de marches à l'est conduit sur le toit de ces pièces.  \nLa construction fait appel à deux types de pierre : le grès et le basalte. Les murs étaient plâtrés aussi bien à l'intérieur qu'à l'extérieur.","short_description":"Importante étape jordanienne sur la route des pèlerinages, al-Qatrana s’élève à 90 km environ au sud d’Amman. Le site comprend une petite forteresse rectangulaire et un grand réservoir d’eau, l’un et l’autre expressément construits, tout comme d’autres forts, en 937 H /1531 J.-C. pour protéger les nouvelles routes de pèlerinage établies par Soliman le Magnifique. Les murs de la forteresse sont crénelés, dotés de meurtrières et de bretèches. La porte d’entrée comprend un porche, un vestibule à voûtes croisées et un passage conduisant à la cour, qui est couverte par de grandes poutres de basalte.","dates":"937 de l’Hégire / 1531 J.-C.","location":"Qatrana.","method_for_datation":"Comme les forts de Dha'a et Ma'an, la forteresse édifiée en 937/1531 fut spécifiquement construite pour protéger les nouvelles routes de pèlerinage établies par Soliman le Magnifique au cours de son règne (926-974 / 1522-1566).","bibliography":"الكردي.حنان، القلاع الأثرية في الأردن، عمان، 1984، ص 37-38.  \nBurckhardt, J. L., *Travels in Syria and the Holy Land*, Londres, 1882, p. 658.  \nDoughty, C. M., *Travels in Arabian Deserts*, London, 1926, p. 58.  \nPeterson, A., “Early Ottoman Forts on Darb al-Hajj”, *Levant*, vol. XXI, 1989, pp. 97-117.","patrons":"Sultan Soliman le Magnifique (r. 926-974 H / 1522-1566 J.-C.).","linkcatalogs":"IAM_TR_FR_001","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["citernes","contreforts","créneaux","eau","réservoir d’eau","tours","voie ferrée du Hedjaz"]},"44db66ac-94d1-513a-affd-eaec477e9022":{"name":"Citadelle d’Amman.","description":"Les armées musulmanes menées par Yazid ibn Abi Soufyan prirent Amman en 13 H / 634 J.-C., qui, sous les Omeyyades, devint la capitale de la province de la Belqa. Un nouveau complexe résidentiel et administratif (Dar al-Imara) fut édifié sur la citadelle. Ce site, appelé al-Qal en arabe, est une importante éminence naturelle au centre de l'Amman ancienne et moderne. La ville omeyyade implantée dans la citadelle comprenait un complexe palatial, des bains, un profond réservoir d'eau circulaire, une place centrale, une mosquée de congrégation et des quartiers domestiques, le tout entouré d'une enceinte fortifiée. La proximité du centre du pouvoir qui se trouvait à Damas ainsi que la présence sur place de tribus traditionnellement alliées à la dynastie omeyyade créèrent un contexte favorable au développement économique de la Belqa en général et d'Amman en particulier. La cité prospéra pendant la période omeyyade, bénéficiant par ailleurs de sa position stratégique sur la route commerciale et de pèlerinage entre Damas et le Hedjaz. Amman perdit une partie de son importance avec le déplacement du centre politique de l'état islamique vers l'Irak et déclina légèrement pendant la période abbasside (132-358 H / 750-969 J.-C.). Vers le VIIIe siècle H (XIVe siècle J.-C.), elle avait pratiquement disparu des mémoires. L'historien médiéval arabe Abou al-Fida parlait en 720 H / 1321 J.-C. “d'une très ancienne ville, en ruine avant l'arrivée de l'islam”. En 1296 H / 1879 J.-C., l'administration ottomane aida à l'installation d'émigrants du Caucase en Jordanie et en particulier à Amman. En 1921, la ville devint la capitale du nouvel émirat de Transjordanie fondé par l'émir et futur roi Abdullah Ier. Cliquer \\[ici\\](< https://youtu.be/yHVm\\_pbN70Q>) pour regarder une présentation vidéo de cet objet (en anglais).","short_description":"La citadelle d’Amman est un promontoire naturel à l’intérieur de la ville. Les armées musulmanes menées par Yazid ibn Abi Soufyan prirent Amman en 13 H / 634 J.-C., et sous les Omeyyades, la ville devint la capitale de la province de la Belga. La ville omeyyade implantée dans la citadelle comprenait un complexe palatial, des bains, un réservoir d’eau, une place centrale, une mosquée de congrégation et des quartiers domestiques, le tout entouré d’une enceinte fortifiée. La cité prospéra pendant la période omeyyade en raison de la proximité de Damas, mais commença à décliner à la période abbasside et fut abandonnée du VIIIe/XIVe siècle jusqu’en 1296/1879, quand les Ottomans aidèrent à l’installation d’immigrants du Caucase à Amman.","dates":"Vers 110 de l’Hégire / 728 J.-C.","location":"Amman.","method_for_datation":"Sources historiques et résultats de fouilles archéologiques.","bibliography":"Almagro, A., “El Palacio Omeya de Amman”, *La Arquitectura*, Madrid, 1983.  \nCreswell, K. A. C. et Allan, J. W., *A Short Account of Early Muslim Architecture*, Le Caire, 1989, pp. 169-173.  \nKhouri, R. G., *Amman: A Brief Guide to the Antiquities*, Amman, 1988, pp. 16-18.  \nKoutsoukou, A. et al., *The Great Temple of Amman: The Excavations*, Amman, 1997, pp. 12-16.  \nNorthedge, A. E., *Studies on Roman and Islamic Amman*, vol. I., Oxford, 1992, pp. 74-104.","patrons":"Hicham ibn Abd al-Malik (105-125 H / 724-743 J.-C.).","linkcatalogs":"IAM_JO_FR_001","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["citadelle d’Amman","complexe de bains","complexe palatial","mosquée de congrégation","mur d’enceinte de ville","place","porte monumentale","quartiers domestiques","réservoir d’eau"]},"912b204e-c92a-58e3-8cab-b04e1caa9f7e":{"name":"Dôme du Rocher.","description":"Le Dôme du Rocher est l'un des plus anciens monuments islamiques encore existants. Sa forme grandiose occupe une place majeure dans l'histoire de la formation de l'art islamique en général.  \nLe bâtiment de plan octogonal est surmonté par une importante coupole reposant sur un tambour circulaire. Quatre portes orientées vers les quatre points cardinaux permettent d'accéder à l'intérieur. La base des façades est revêtue de panneaux de marbre et leur partie supérieure de carreaux de céramique vernissée datant de Soliman le Magnifique, qui ordonna le remplacement de la mosaïque de verre d'origine en 952-959 H / 1245-1552 J.-C. Les panneaux de marbres ont été remplacés à plusieurs reprises. Le tambour intérieur, lui, est revêtu d'une mosaïque de carreaux de verre. La coupole actuelle est recouverte de panneaux de cuivre plaqués d'or qui ont remplacé des panneaux de plomb doré.  \nL'intérieur et l'extérieur sont construits selon un plan octogonal qui encadre le Saint Rocher. Selon les croyances islamiques, ce rocher est l'endroit d'où le prophète Mohammad monta au ciel (*Mi'raj*) la nuit de son voyage de la Mecque à Jérusalem (*Isra'*). L'intérieur est soutenu par huit piliers et 16 colonnes. La rotonde repose sur des arcs en plein cintre reposant sur quatre piliers et douze colonnes et décorés sur leurs deux faces et leur intrados de carreaux en mosaïque et d'inscriptions épigraphiques. La rotonde est recouverte par une double coupole. La coupole intérieure, de 20,44 m de diamètre, est tenue pour la plus ancienne structure en bois existante. Elle est doublée de panneaux de bois décorés d'inscriptions et d'ornements géométriques incisés dans le stuc. Seize fenêtres ont été percées dans le tambour, lui-même orné d'une décoration en mosaïque et d'inscriptions tirées du Coran qui datent des diverses campagnes de restauration, les plus célèbres restant celles des période omeyyade, ayyoubide, mamelouke et ottomane. Cette coupole, sans aucun ornement décoratif, illustre la nouvelle orientation esthétique dictée par des préceptes religieux.","short_description":"Le Dôme du Rocher est le joyau de l’architecture islamique et le monument islamique le plus ancien qui n’ait pas subi de changements fondamentaux. Il procure ainsi un témoignage très important sur la création et sur la formation de l’architecture islamique et sur les premiers arts décoratifs islamiques. On le considère également comme l’un des plus beaux monuments au monde. La construction est de forme octogonale et est couverte sur ses parois extérieures de marbre et de carreaux vernissés. L’intérieur est revêtu de marbre, de mosaïques, de plâtre et de bois. La grande coupole recouverte d’or qui couronne l’édifice symbolise à elle seule Jérusalem.","dates":"72 de l’Hégire / 691 J.-C.","location":"Jérusalem","method_for_datation":"Inscription de fondation en écriture coufique. Plusieurs historiens musulmans anciens comme al-Maqdisi al-Bichari, le fameux géographe (m. fin IVe/Xe siècle) datent la construction de l'édifice de 72/961.","bibliography":"Al-Natseh, Y., *Qubbat al-Sakhra al-Mouchrrafa: Jauhara al-Qods wa al-Masjid al-Aqsa al-Moubarak* \\[Le Dôme du Rocher : joyau de Jérusalem et première mosquée al-Aqsa\\], Jérusalem, 2002.  \nCreswell, K. A. C., *Early Muslim Architecture*, vol. 1, Oxford, 1932.  \nGrabar, O. et Nuseibah, S., *The Dome of the Rock*, New York, 1996.  \n*Pèlerinage, Sciences et Soufisme : l'art islamique en Cisjordanie et à Gaza*, Aix-en-Provence, 2004.  \nRichmond, E. T., *The Dome of the Rock in Jerusalem: A Description of its Structure and Decoration*, Oxford, 1924.","patrons":"Le calife omeyyade Abd al-Malik bin Marwan (r. 65-86 H / 685-705 J.-C.). L’édifice a été rénové par plusieurs califes et sultans dont le calife fatimide al-Dahir (r. 411-427 H / 1021-1036 J.-C.), le sultan Salah al-Din Ayyoubi (Saladin, r. 564-589 H / 1169-1193 J.-C.) et le sultan ottoman Soliman le Magnifique (r. 926-974 / 1520-1566 J.-C.).","architects":"Raja’ bin Haïwa et Yazid bin Salaam. Le nom de l’artisan Muhammad bin Balawar est associé à la rénovation de la période fatimide. Celui de Moustafa Raqam est lié aux dernières campagnes de restauration ottomanes (XIIIe siècle H / XIXe siècle J.-C.).","linkcatalogs":"IAM_PA_FR_001","author":"Yusuf al-Natsheh","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["Carreaux en céramique","cuivre","dômes","dômes en bois","doubles-dômes","kachani","Mi’raj","mosaïques","octogones","placage d’or","rocher","rocher de al-Bayt al-Muqqadas"]},"b09beb3b-1d0b-53ab-b342-7ea606b4ebe1":{"name":"Al-Moudawwara.","description":"Dernière étape avant de pénétrer en Arabie saoudite sur la route du pèlerinage, le complexe d'al-Moudawwara se compose d'une forteresse, d'un réservoir et d'une route pavée.  \nLa forteresse, édifiée en blocs de pierre calcaire, est de plan carré (19 x 19 m). à chaque angle se trouvaient une bretèche en partie supérieure et un contrefort de 1 m de haut environ en partie inférieure. Les murs étaient percés de deux rangées de meurtrières. La hauteur maximum des murs préservés s'élève à 9 m. Le sommet des remparts nord et ouest était plat, celui des murs est et sud protégé par un parapet crénelé. Les murs nord et ouest sont légèrement plus hauts que les deux autres et leur sommet présente une maçonnerie différente, ce qu'explique probablement leur construction ultérieure.  \nLa porte d'entrée, implantée au centre du mur, se composait d'une ouverture rectangulaire suivie d'un passage sous voûte en berceau menant à une cour centrale de 8 x 8 m environ. Elle était protégée par une importante bretèche (5,5 x 2,5 m) à petite ouverture rectangulaire flanquée de deux meurtrières, reposant sur une arche soutenue par des corbeaux. Au niveau du sol, autour de la cour centrale, se trouvaient neuf salles à voûtes en berceau. Les escaliers menant à l'étage étaient implantés de chaque côté du passage. à l'étage, neuf salles de dimensions et de formes différentes entouraient également la cour.","short_description":"Dernière étape sur la route du pèlerinage vers le Hedjaz, le complexe d’al-Moudawwara se compose d’une forteresse, d’un réservoir et d’une route pavée. La forteresse, qui date d’Abdoullah Pacha (gouverneur de Damas 1142-1145 H /1730-1733 J.-C.), est édifiée en blocs de pierre calcaire sur un plan carré de 19 m de côté. Les murs étaient percés de deux rangées de meurtrières. Le sommet des remparts nord et ouest était plat, celui des murs est et sud, peut-être plus récents, était crénelé. La porte d’entrée est protégée par une importante bretèche reposant sur une arche soutenue par des corbeaux.","dates":"1142-1145 de l’Hégire / 1730-1733 J.-C.","location":"Al-Moudawwara.","method_for_datation":"Les documents historiques datent la forteresse du temps d'Abdoullah Pacha, gouverneur de Damas (1142-1145/1730-1733). L'analyse architecturale suggère une organisation des salles du rez-de-chaussée autour d'une cour centrale. Peterson (1986) date al-Moudawwara et al-Hasa du début du XIe/XVIIIe siècle.","bibliography":"Burckhardt, J. L., Travels in Syria and the Holy Land, Londres, 1882, p. 659.  \nDoughty, C. M., Travels in Arabia Deserts, Londres, 1926, p. 97.  \nEdib, M., Manasik al-Hajj, Istanbul, 1779.  \nMusil, A., The Northern Hegaz: a Topographical Itinerary, New York, 1926.  \nPeterson, A., Early Ottoman Forts on The Hajj Route in Jordan, thèse de maîtrise non publiée, Université d'Oxford, 1986, pp. 108-116.","patrons":"Aydinli Abdoullah Pacha, gouverneur de Damas (1142-1145 H / 1730-1733 J.-C.).","linkcatalogs":"IAM_TR_FR_001","author":"Mohammad Najjar","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["citernes","contrefort","forteresses","tours d’angle","voûte en berceau"]},"fd051a6c-6d76-5872-b5f1-48712d9ee72b":{"name":"Amulette apotropaïque contre le mauvais œil (“œil bleu”).","description":"“Œil bleu” fait d'un disque de verre moulé bleu auquel se superposent deux disques de verre jaune et blanc de diamètres plus petits, le tout surmonté d'un point noir central. Il s'agit probablement d'une pièce appartenant à un collier composé d'éléments similaires puisqu'il présente un trou latéral pour le passage d'un fil. Ce type d'œil de verre pouvait également être cousu sur des vêtements ou des coiffures.  \nSelon la croyance islamique populaire, les yeux bleus sont des yeux envieux. L'œil de l'envie ou œil bleu se porte pour se protéger de ce sentiment négatif en renvoyant à l'autre sa propre envie, et en protégeant ainsi le porteur des effets de la jalousie, qui pourrait provoquer l'arrivée d'une maladie ou d'un événement funeste.  \nCes “yeux” peuvent être de fabrication grossière, comme ce modèle, mais aussi dessinés avec précision et réalisés avec art comme dans certaines pièces de joaillerie en or ou argent. Leur pouvoir de protection n'est pas lié à la qualité de la fabrication. On trouve également des disques entièrement bleus qui devaient jouer un rôle similaire et pouvaient parfois remplacer l'œil de l'envie.","short_description":"Dans la croyance islamique populaire du Moyen-Orient, les yeux bleus sont censés être à la fois envieux et avoir la capacité de repousser l’envie. Cet œil de verre bleu est porté pour protéger des effets de la jalousie, qui peut provoquer la perte de ce qui est envié, la maladie ou un évènement funeste.","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Fin XIIIe-début XIVe siècle de l’Hégire (fin XIXe-début XXe siècle J.-C.).","location":"Glasgow, Écosse","dimensions":"Ø 2 cm.","method_for_datation":"Analyse stylistique. De nombreux exemples similaires, tant pour la méthode de fabrication que pour la taille et la couleur, ont été datés de la période ottomane et attribués à des ateliers d'Hébron en Palestine.","method_for_provenance":"De nombreux exemples similaires ont vu leur provenanceattribuée à des ateliers d'Hébron, en Palestine.","provenance":"Hébron, Palestine.","obtention":"Acheté par le muséeen 1912.","bibliography":"Weir, S., *Palestinian Costume*, Londres, 1989.  \nBudge, Sir, E. A. Wallis, *Amulets and Superstitions*, Londres, 1930.","linkcatalogs":"IAM_PA_FR_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["bijoux","décoration figurative","objets religieux"],"materials":["Verre de couleur moulé."]}}

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@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"6440f57d-bc25-5c0f-9b16-443be2f69b2a":{"name":"عهدة عائلة الخليلي - مجموعة الحج وفنون الحج","description":"في سعيه لتقديم رؤية شاملة لفنون العالم الإسلامي بأسره ، ومنذ سبعينيات القرن الماضي ، جمع البروفيسور ناصر د. خليلي Professor Nasser D. Khalili مجموعته من الفن الإسلامي تحت رعاية صندوق عائلة خليلي. مع ما يزيد عن 28000 قطعة توثق نطاق الإنتاج الفني للأراضي الإسلامية على مدى حوالي 1400 عام ، تعد المجموعة الآن من بين الأفضل في العالم وتمثل جيلًا جديدًا من مجموعات الفن الإسلامي.  \nتتضمن المجموعة مجموعة رائعة من مخطوطات القرآن الكريم والمخطوطات المصورة ، وتغطية الفنون الزخرفية - الخزف والمنسوجات والزجاج والمعدن والورنيش وكذلك الأختام والعملات المعدنية - تغطية شاملة.  \nإن مقتنيات مخطوطات وأوراق القرآن الكريم هي أول ما تم تجميعه بشكل منهجي لتوضيح التاريخ الكامل لإنتاج القرآن ، من حيث المدى الزمني والنطاق الجغرافي - من القرن الثامن إلى القرن العشرين. ومن المغرب الى الصين. حيث تم تجميع تسلسلات مماثلة للرسم والفنون الزخرفية. فعلى سبيل المثال ، يتم تمثيل الزجاج والخزف والأعمال المعدنية في مجموعة كاملة من التقنيات من فترة ما قبل الإسلام وحتى القرن التاسع عشر.  \nنال الفن الإسلامي اللاحق نفس المستوى من الاهتمام. حيث تُظهر جملة القطع والمخطوطات المهمة من فترات لاحقة في المجموعة أن الكثير من الأعمال الفنية التي تستحق اهتمامنا على أسس جمالية وتاريخية وفكرية تم إنتاجها في القرنين السابع عشر والثامن عشر والتاسع عشر. والشكل فني مهم آخر لهذه الفترة هو اللكر الإسلامي Islamic lacquer ، ويمثله في المجموعة أكثر من 500 مثال.  \nكتالوك المجموعة عبارة عن سلسلة غير مسبوقة من 27 مجلدًا ، تم نشر العديد منها الآن ، وعند اكتمالها ستشكل مسحًا فريدًا للمجال حتى الآن. إن الدراسات في مجموعة الخليلي هي سلسلة ثانية من المنشورات المتعلقة بمجموعة الفن الإسلامي ، وتقدم تحليلاً أكثر تفصيلاً لبعض الأشياء.  \nمجموعة الحج وفنون الحج  \nمنذ حوالي 40 عامًا ، وتحت رعاية صندوق عائلة الخليلي ، شارك البروفيسور ناصر د. خليلي بنشاط في تجميع مجموعة بارزة من الأشياء المتعلقة بالحج ، وهو الركن الخامس للإسلام والذي يفسح المجال للفن والتعبير. بأكثر من 3000 قطعة ، تعد مجموعة الحج وفنون الحج الآن واحدة من أكبر وأهم مجموعة من نوعها وتتضمن أشياء رئيسية ، والعديد منها فريد من نوعه.  \nتتراوح القطع الأثرية من القرن الثامن إلى القرن العشرين وجغرافيًا من الصين والهند في الشرق إلى المغرب والمملكة المتحدة في الغرب. وهي تشمل حوالي 250 قطعة من المنسوجات المنسوجة والمطرزة المصنوعة للحرمين الشريفين في مكة المكرمة والمدينة المنورة ، وسبعة أغلفة للمحامل mahmals المصرية والسورية ، ومصاحف ، ومخطوطات مصورة ، وأدوات علمية ، وعملات معدنية ، ولوحات ، وكتب نادرة ، ومطبوعات ، وصور فوتوغرافية ، وبطاقات بريدية. ، بالإضافة إلى مواد أرشيفية مهمة وبعض الوثائق التاريخية الفريدة.  \nنظرًا لحجمها وتنوعها ، تقدم المجموعة نظرة عامة شاملة عن الحج ، توضح الجوانب الدينية والروحية والثقافية والفنية للحج إلى مدن الإسلام المقدسة والطبيعة العالمية للحج.  \nمنذ عدة سنوات ، خضعت المادة لبرنامج شامل للحفظ سيكتمل قريبًا ، كما أن البحث في التحضير لنشرها في عدد من المجلدات متقدم بشكل جيد. ستشمل المجلدات مساهمات من عدد من العلماء الدوليين الذين هم خبراء بارزون في العديد من التخصصات التي يثيرها هذا الموضوع.","city":"لندن","website":"http://www.khalilicollections.org","email":"info@nourhouse.com"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum for Islamic Art at the Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"d2b9c791-32d7-590a-9a1b-3f6766d360d6":{"name":"متحف الشيخ فيصل بن قاسم ال ثاني","description":"تأسس متحف الشيخ فيصل بن قاسم آل ثاني عام 1998. على يد صاحبه الشيخ فيصل فهو من بنات أفكار سعادته ونتاج شغفه الدائم بجمع القطع الفنية من كل أنحاء العالم سواء كانت قطعاً غريبة أو ذات أهمية تاريخية.  \n  \nيتميز المتحف الذي يتمتع بتنوع عالمي بضم أكثر من 30,000 قطعة من مختلف الأزمنة والثقافات، ويمثل بالمعنى الحقيقي نسخة حديثة من \"صندوق الفضول\"، خزانة العجائب التاريخية التي تعود إلى عصر النهضة.  \nالمجموعة المعروضة في أكثر من 30 قاعة بالمتحف تتميز بالتنوع من العصور البدائية حتى الوقت الحاضر، وتشمل الفن الإسلامي والتراث القطري والسجاد والأسلحة والمركبات والمجوهرات والعملات المعدنية وغيرهما. كما تتضمن أبرز القاعات في المتحف بيتًا سوريًا مُعاد تشييده وغرفة القرآن. تجسد القطع المعروضة ثقافة الفن الإسلامي وتقاليده الواسعة من جنوب أوروبا وشمال أفريقيا والشرق الأوسط حتى جنوب آسيا. تقديم الأعمال بطريقة موضوعية يسلط الضوء على التشابه بين الأشكال الفنية والتعبيرات الثقافية والتفاعل المتبادل بين المجتمعات.  \n  \nلا يُعتبر المتحف مجرد مجموعة قطع فنية. فمنذ بناء المتحف الرئيسي في الشحانية عام 1998 باستخدام الحجر المحلي على هيئة حصن بأبراج تقليدية، يسعى متحف الشيخ فيصل بن قاسم إلى إبراز التراث القطري ومشاركته عالمياً، مع إنشاء متحف السجاد في قلب الدوحة عام 2014 وافتتاح متحف السيارات، يهدف مجمع متاحف الشيخ فيصل بن قاسم آل ثاني إلى إلهام الناس على التفاعل مع التراث الثقافي من خلال مشاركة القصص من قريب وبعيد. أيضا يسعى إلى تعزيز الحوار بين الثقافات من خلال المعارض والبرامج التعليمية والبرامج العامة، سواء محلياً أو دولياً.  \n  \nفي عام 2010، تم اختيار المتحف من قبل وزارة الثقافة والفنون والتراث في قطر كواحد من المعالم الثقافية الهامة ضمن عام \"الدوحة عاصمة الأنشطة الثقافية 2010\".","city":"الدوحة","address":"Zone 80, Street 9999 Building No. 365, Al Samariya  \nAl Shahaniya, Doha Qatar  \nP.O. Box number 006","website":"www.fbqmuseum.org","phone":"+974 4486 1444","email":"info@fbqmuseum.org"},"d9f6c12d-ca03-5d6e-b33c-c1a37daec1fa":{"name":"متاحف جلاسكو","description":"على الرغم من أنها ليست العاصمة ، فإن غلاسكو هي أكبر مدينة في اسكتلندا. وتفتخر بمشهدها متعدد الثقافات مع مجتمع مسلم مزدهر يمثل أكبر مجموعة اسكتلندية غير بيضاء في المدينة وفي اسكتلندا. وتعد مجموعة متاحف جلاسكو أكبر مجموعة تديرها أي سلطة محلية في المملكة المتحدة وواحدة من مجموعة قليلة من المجموعات البلدية المعترف بها بأنها ذات أهمية وطنية. وقد تأسست هذه الخدمة في عام 1854 مع مجموعة ماكليلان للوحات الأوروبية McLellan collection of European paintings ، والتي تبرع بها أرشيبالد ماكليلان Archibald McLellan إلى سكان غلاسكو مع مبنى لإيوائها. وتدير جلاسكو حاليًا ثلاثة عشر متحفًا عامًا تغطي مجموعة واسعة من الموضوعات.  \nتأتي مجموعات غلاسكو الإسلامية من جميع أنحاء العالم مع قطع من إفريقيا وإسبانيا والشرق الأوسط وآسيا الوسطى. وتعود أقدم العناصر إلى القرنين العاشر والحادي عشر.وقد تم التبرع بأقدم القطع التي دخلت مجموعات المتاحف في سبعينيات القرن التاسع عشر. وعلى الرغم من أن العديد من هذه التبرعات هي تبرعات خاصة ، فقد تم شراء بعضها بواسطة خدمة المتحف. وتوجد المجموعات الإسلامية بشكل أساسي في مجموعة Burrell ، ومتحف St. Mungo للحياة الدينية والفنون ، ومركز موارد متاحف غلاسكو ، ومتحف ومعرض فنون Kelvingrove.  \nتكمن القوة الرئيسية للمجموعات الإسلامية في التبرع الكبير للسير ويليام بوريل Sir William Burrell وزوجته ، اللذين أهديا مجموعتهما الضخمة والمتنوعة إلى غلاسكو في عام 1944. وهي تشمل الخزف والسجاد الإيراني والمغولي الهندي والمنسوجات والمطرزات التركية والأوزبكية ، والقطع البراقة للمساجد الإسبانية Hispano-Moresque lustrewares. وتشمل المجموعات الإسلامية الأخرى لمتاحف جلاسكو قطعًا من موغال الهند ، والقطع الفاطمية والمملوكية مصر وسوريا ، الشرق الأوسط العثماني ، وقطع القرن التاسع عشر البربرية والعربية من شمال أفريقيا. بالإضافة إلى كل ما سبق ، تهتم متاحف جلاسكو بتطوير مجموعاتها الإسلامية المعاصرة من خلال الترحيب بالتبرعات للفنون والحرف الإسلامية الحديثة ، فضلاً عن تعزيز المجالات الأخرى ضمن مجموعاتها الإسلامية.","city":"غلاسكو","address":"The Burrell Collection  \nPollok Country Park  \n2060 Pollokshaws Road  \nG43 1AT  \nGlasgow, United Kingdom","website":"http://www.glasgowlife.org.uk/","phone":"+44 141 2872550"}}

package/translations/partners.de.json

@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"State Museums Berlin, Museum of Islamic Art at the Pergamon Museum","description":"**Das Museum für Islamische Kunst ist wegen Umbau- und Erweiterungsarbeiten von Oktober 2023 bis März 2027 geschlossen.**  \n  \nMit dem Geschenk der Fassade des Palastes von Mschatta durch den deutschen Kaiser an die Berliner Museen, der Stiftung von Teppichen durch Wilhelm von Bode und der Dauerleihgabe einer Sammlung islamischer Kunst durch Friedrich Sarre konnte das Museum 1904 eröffnet werden. Von da an wuchs die Sammlung durch Geschenke, Ankäufe und Ausgrabungsfunde kontinuierlich. 1932 wurden eigens geschaffene Räume für die Sammlung im Pergamonmuseum eingerichtet.  \n  \nNach dem 2. Weltkrieg, dem Verlust zahlreicher großer Teppiche und der Teilung der Bestände auf eine östliche und eine westliche Hälfte der Stadt Berlin wurde die Sammlung schließlich im Pergamonmuseum im Jahr 2000 wieder zusammengeführt.  \n  \nDas Museum gehört mit seinen Kunstwerken aus fast allen Teilen der islamischen Welt zu einer der weltweit bedeutenden Sammlungen. Sie ist vor allen Dingen besonders reich durch Kunstwerke aus größeren architektonischen Zusammenhängen. Dazu gehört die Fassade von Mschatta, zwei Gebetsnischen aus Kaschan/Iran und Konya/Türkei, der Alhambra-Kuppel aus Granada/Spanien, dem Aleppo-Zimmer aus Aleppo/Syrien und Ausgrabungsfunden. Die Sammlung weist darüber hinaus eine bedeutende Anzahl von osmanischen und persischen Teppichen auf und besitzt zudem wichtige Bestände der Buchkunst mit zahlreichen Miniaturen aus dem Moghul-Reich.  \n  \nDie Kunstwerke werden chronologisch präsentiert und erlauben dem Besucher die unterschiedlichen Kunststile der islamischen Geschichte kennenzulernen und ein Verständnis für die komplexe islamische Geschichte und ihre künstlerischen Entwicklungen zu gewinnen. Durch die zahlreichen Besucher in der Ausstellung kann nur eine geringe Anzahl von Meisterwerken der Sammlung gezeigt werden. Abgesehen von der Dauerausstellung veranstaltet das Museum Sonderausstellungen. Neben Ausstellungen zu dynastischen Themen oder zu bestimmten Fragestellungen wie den Beziehungen zur zeitgenössischen islamischen Kunst werden auch anderen Orts konzipierte Austellungen übernommen.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/partners.en.json

@@ -0,0 +1 @@
+{"1b9d91b0-8fed-543e-bf14-fad63a660405":{"name":"Jordan National Gallery of Fine Arts","description":"The Jordan National Gallery of Fine Arts (JNGFA) is a leading contemporary art museum in Amman, established in 1980 by the Royal Society of Fine Arts. Its mission is to promote cultural diversity and highlight art from the Arab and developing worlds. Located in the historic Jabal al-Weibdeh district, the gallery spans two buildings connected by a beautiful sculpture park and serene Japanese garden.  \n  \nThe JNGFA houses an impressive permanent collection of over 3000 works, including paintings, sculptures, ceramics, graphic art, video art and installations. The collection features pieces by more than 800 artists from over 60 countries across Asia, Africa, Europe, Latin America and Australia. This vast and diverse compilation makes the gallery a significant global reference for contemporary art.  \n  \nIn addition to its permanent collection, the gallery regularly hosts a wide array of rotating exhibitions, artist residencies and community workshops. An on-site café offers visitors a spectacular view of the city and garden, while a gift shop sells unique artworks and handcrafted goods. In 2009, the JNGFA launched its innovative Mobile Museum, a van converted into a traveling gallery that brings art and workshops to rural villages across Jordan. This outreach program demonstrates the gallery’s commitment to expanding access to art beyond the capital and fostering cultural appreciation nationwide.","city":"Amman","address":"Jabal Al Weibdeh  \nHusni Fareez Street - Building no. 6  \nAmman 11191 Jordan","website":"https://nationalgallery.org","phone":"+962 6 4630128","email":"info@nationalgallery.org"},"248c7bfa-06e5-5f42-beec-a7e9bdb14579":{"name":"The Palestinian Museum","description":"The Palestinian Museum is an independent cultural institution committed to producing and sharing critical, sensory and knowledge-based experiences that deepen engagement with Palestine - its people, histories, cultures and futures. Based in Birzeit, the Museum works across exhibitions, research, education, digital initiatives and public programming to create spaces for dialogue, reflection and collective learning in Palestine and beyond.  \n  \nThe Museum approaches Palestinian cultural heritage as both lived experience and evolving practice. Through interdisciplinary and community-oriented work, it documents, preserves and reinterprets tangible and intangible heritage while encouraging new forms of storytelling, artistic expression and public participation. Its programmes bring together historical inquiry, contemporary art, archival practices and educational engagement to connect diverse audiences across generations and geographies.  \n  \nCentral to the Museum’s work is a commitment to accessibility and transnational connection. Through collaborations, travelling exhibitions and digital platforms - including the Palestinian Museum Digital Archive - the Museum seeks to expand access to Palestinian narratives and cultural resources for audiences in Palestine and across the diaspora.  \n  \nThe Palestinian Museum values intellectual integrity, creativity, transparency and institutional independence. It strives to produce rigorous and accessible cultural content while fostering curiosity, critical thought and meaningful encounters with  \n  \nPalestinian history and contemporary life. Through its work, the Museum continues to imagine and contribute to more open, connected and emancipatory cultural futures.","city":"Birzeit","address":"Museum Street  \nPO Box 48 Birzeit, Palestine","website":"https://palmuseum.org","phone":"+970 2 294 1948","email":"info@palmuseum.org"},"24c603b5-2eb7-5149-bfe7-519dc7267a99":{"name":"Austrian National Library","description":"**Austrian National Library**  \n  \nThe Austrian National Library is the home of one of the most important collections of manuscripts and rare prints in the world. Founded as the Habsburg court library in Vienna in the 16th century, it today houses various collections and museums ranging from papyri to modern Austrian literature.  \n  \nThe oldest surviving library catalogue, dated to 1576, already mentions Oriental manuscripts. In the early 17th century, their number increased thanks to the efforts of Sebastian Tengnagel (1603-1636), the library’s second prefect. He was a scholar of Oriental languages as well as an avid book collector, who bequeathed his collection to the court library. In the 19th century and especially during Moritz Graf Dietrichstein’s time as library prefect (1826-1845) the Oriental the collection started to grow again. A large number of manuscripts was acquired from the famous orientalist Joseph Freiherr von Hammer-Purgstall. Other books found their way to Vienna through the hands of scholars and explorers like Eduard Glaser, who brought back 250 manuscripts from his expeditions to South Arabia (mainly modern day Yemen). Finally, in 2011, Franz and Edelgard Loibl donated their collection of manuscripts and prints, among them many oriental manuscripts, to the Austrian National Library.  \n  \n**Holdings**  \n  \nToday, there are around 3000 manuscripts in Arabic script in the library’s holdings: 1400 in Arabic, 1300 in Turkish and 300 in Persian.  \n  \nThere are five groups of shelf marks:  \n  \n• Cod. A. F.: Alter Fond, collection before the 19th century  \n• Cod. N. F.: Neuer Fond, collection Hammer-Purgstall  \n• Cod. H. O.: Historica Osmanica, Turkish history  \n• Cod. Mixt.: Codices mixti, newer acquisitions in Arabic script and different languages  \n• Cod. Gl.: Glaser Collection  \n  \n**Catalogues**  \n  \nAll manuscripts within Cod. A. F., Cod. N. F, Cod. H. O and Cod. Mixt. up to Cod. Mixt. 740 were catalogued by Gustav Flügel between 1865 and 1867:  \n  \nGustav Flügel, Die arabischen, persischen und türkischen Handschriften der Kaiserlich-Königlichen Hofbibliothek zu Wien (1865-1867) Vol. 1, Vol. 2, Vol. 3 (with index).  \n  \nFor new acquisitions 1868-1968 in Arabic see:  \n  \nHelene Loebenstein, Katalog der arabischen Handschriften der Österreichischen Nationalbibliothek: Neuerwerbungen 1868-1968 1: Codices mixti ab Nr 744. (Museion N.F. 4, Bd. 3, Neuerwerbungen 1868-1968 T. 1, Wien 1970) online  \n  \nFor new acquisitions 1864-1997 in Turkish see:  \n  \nSmail Balić, Katalog der türkischen Handschriften der Österreichischen Nationalbibliothek : Neuerwerbungen 1864-1994 : mit einem Anhang: Bosnische Aljamiado-Handschriften (Ankara 2006)  \n  \nFor new acquisitions 1868-1994 in Persian see:  \n  \nAfšār Īraǧ, Fihrist-i dast-niwīshā-i fārsi dar kitābẖāna-i millī-i Utrīš wa āršīw-i dawlatī-i Utrīš dar Wiyan. Catalogue of Persian manuscripts in the Austrian National Library and in the Austrian State Archives in Vienna (Teheran-Wien 2003)  \n  \nLater acquisition are mainly catalogued online: www.onb.ac.at  \n  \nFor illuminated Oriental manuscripts see the catalogues by Dorothea Duda  \n  \nDorothea Duda, Islamische Handschriften 1: Persische Handschriften (Veröffentlichungen der Kommission für Schrift- und Buchwesen des Mittelalters. Reihe I, Die illuminierten Handschriften und Inkunabeln der Österreichischen Nationalbibliothek Band 4/ Österreichische Akademie der Wissenschaften, Philosophisch-Historische Klasse, Denkschriften 167, Wien 1983)  \n  \nDorothea Duda, Islamische Handschriften 2, Teil 1: Die Handschriften in arabischer Sprache (Veröffentlichungen der Kommission für Schrift- und Buchwesen des Mittelalters. Reihe I, Die illuminierten Handschriften und Inkunabeln der Österreichischen Nationalbibliothek Band 5, Teil 1 / Österreichische Akademie der Wissenschaften, Philosophisch-Historische Klasse Denkschriften 229, Wien 1992)  \n  \nDorothea Duda, Islamische Handschriften 2, Teil 2: Die Handschriften in türkischer Sprache (Veröffentlichungen der Kommission für Schrift- und Buchwesen des Mittelalters. Reihe I, Die illuminierten Handschriften und Inkunabeln der Österreichischen Nationalbibliothek Band 5, Teil 2 / Österreichische Akademie der Wissenschaften, Philosophisch-Historische Klasse Denkschriften 363, Wien 2008)","city":"Vienna","address":"Josefsplatz, 1  \n1015 Wien  \nAustria","website":"www.onb.ac.at","phone":"+43 1 534 10 0","email":"onb@onb.ac.at"},"3a61396d-ccb2-5d8a-9235-0224c3ec9c47":{"name":"Qatar National Library","description":"Qatar National Library (QNL) serves as the guardian of Qatar’s documentary heritage, dedicated to collecting, preserving, and providing access to the nation’s recorded history. As a research library with a distinguished heritage collection, QNL fosters deeper global understanding of the history and culture of the Gulf region. In its role as a public library, QNL ensures equitable access for all residents of Qatar to an inclusive environment that encourages creativity, informed decision-making, and cultural enrichment. Through these core functions, QNL plays a leading role in shaping and supporting Qatar’s library and cultural heritage landscape.  \n  \nAligned with Qatar’s vision of transitioning towards a knowledge-based, sustainable economy, the Library contributes to national development by empowering students, researchers, and the wider public through access to knowledge, support for lifelong learning, and community engagement.  \n  \nQNL’s collections include over one million print books, in addition to more than 500,000 digital resources—ebooks, journals, newspapers, and rare items held in its special collections. Its librarians bring expertise in research support, literacy, programming, and knowledge management, offering a wide array of services and events that inspire discovery, learning, and innovation within the community.  \n  \nThe establishment of the Library was announced on 19 November 2012 by Her Highness Sheikha Moza bint Nasser, Chairperson of Qatar Foundation. QNL was officially designated as the national library under Amiri Decree No. 11, issued on 20 March 2018. The Library was formally inaugurated by His Highness Sheikh Tamim Bin Hamad Al Thani, the Amir of Qatar, during a grand opening ceremony held on 16 April 2018.","city":"Doha","address":"District of Freedom, Education City, Al Luqta St, Doha, Qatar","website":"https://www.qnl.qa/en","phone":"+974 4454 0100"},"3b8b21a6-20fc-51c6-9cab-9260abd02424":{"name":"The Palestine Exploration Fund (PEF)","description":"Founded in 1865, the Palestine Exploration Fund is the world’s oldest society for the study of the ancient Levant, with a focus on the southern region comprising Jordan, the Occupied Palestinian Territories, Israel, Lebanon, Sinai, and southern Syria. It was a pioneer in the fields of survey, mapping, and archaeology. Its history is closely tied to the concerns of British colonial interests in the Middle East, particularly in the 19th century, and displays an emphasis (though not an exclusive one) on biblical interests. Its reputation was made through the consistently high standards of data collection, and following a scientific methodology, which has resulted in its material still being highly relevant to today’s scholars. It collections are a unique and valuable source of information on numerous subjects, from the archaeology of the region’s ancient past to Britain’s involvement in the Middle east in the 19th and early 20th centuries. Today, the PEF is a flourishing heritage and academic research centre, with a mission to make its collections accessible to a wide range of scholars and researchers across many different disciplines, and to members of the public as a place where they can make new discoveries, learn, and ask questions about all aspects of material cultural heritage in the region.","city":"London","address":"5-6 Dreadnought Walk, Greenwich, London SE10 9FP","website":"http://www.pef.org.uk","phone":"+44 207 935 5379","email":"execsec@pef.org.uk"},"4116062f-9ddb-5ae6-bca9-7f7024adf5a8":{"name":"MATHAF","description":"Mathaf: Arab Museum of Modern Art serves as the Arab world’s leading museum of modern and contemporary art. The museum offers a welcoming, vibrant environment that invites evolving discussions about modern art in the region and beyond. Home to a permanent collection that offers a distinctively unique comprehensive overview of modern and contemporary art from North Africa and the Middle East, Mathaf (“museum” in Arabic) also performs an important role as a centre for dialogue and scholarship and a resource for fostering creativity. Mathaf was opened by Qatar Museums (QM) in partnership with Qatar Foundation (QF) in 2010 and is located in Doha’s Education City.  \n  \nOver the past 10 years, Mathaf has made major contributions to research and debate around modern and contemporary art. The Museum evolved into a meeting point for art practitioners and scholars from across the region around education programmes, conferences and publications. In looking ahead to the next decade, Mathaf will continue to serve as a dynamic platform for artists, facilitating the creation and exploration of contemporary works that presents and examines their society and culture while further expanding its global reach through the large-scale digitisation of the museum, providing experience and knowledge of the Mathaf collection through the texts of the Mathaf Encyclopedia specialised in art history, criticism and thought.","city":"Doha","address":"Education City, Qatar Foundation, P.O. Box 2777, Doha, Qatar","website":"http:// mathaf.org.qa/en/","phone":"+974 4402 8830","email":"mathaf@qm.org.qa"},"4326224d-7756-5104-a135-5f12f076ecb3":{"name":"Ministry of Culture and Tourism (General Directorate for Cultural Heritage and Museums)","description":"Hosting many civilisations on its soil throughout the ages, Turkey can be identified as the cradle of civilisations and its culture is enriched by the ancient history of Anatolia, the Mediterranean, the Middle East, the Caucasus, eastern Europe and the Aegean. Turkey is now among the most important cultural and touristic places in the world with its thousands of years of cultural accumulation, unique geography, intercontinental location and natural beauty. Duties and activities including promotion, preservation and the transfer of cultural heritage into the future are the responsibility of the Ministry of Culture and Tourism. The ministry creates policies that keep abreast of contemporary socioeconomic and strategic developments occurring in the world and carries out its activities within the powers delegated by law.","city":"Ankara","address":"II. TBMM Binası Yanı  \n06110 Ulus/Ankara  \nTurkey","website":"www.kultur.gov.tr","phone":"+90 312 470 80 00","email":"kulturvalikmuze@gov.tr"},"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"6440f57d-bc25-5c0f-9b16-443be2f69b2a":{"name":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","description":"In striving to provide a synoptic vision of the arts of the entire Islamic world, and since the 1970s, Professor Nasser D. Khalili has assembled his collection of Islamic art under the auspices of The Khalili Family Trust. With holdings of more than 28,000 objects documenting the range of artistic production of the Islamic lands over a period of some 1400 years, the Collection now ranks among the best in the world and represents a new generation of Islamic art collections.  \n  \nThe Collection includes an outstanding array of manuscripts of the Holy Qur’an and of illustrated manuscripts, and the coverage of the decorative arts – ceramics, textiles, glass, metalwork and lacquer as well as seals and coins – is comprehensive.  \n  \nThe holdings of manuscripts and folios of the Holy Qur’an are the first to have been assembled systematically in order to illustrate the whole history of Qur’an production, both in terms of time span and geographical range – from the 8th to the 20th centuries, and from Morocco to China. Similar sequences have been assembled for painting and the decorative arts. Glass, ceramics and metalwork, for example, are represented in the full range of techniques from the pre-Islamic period through to the 19th century.  \n  \nLater Islamic art has been given the same level of attention. The wealth of important objects and manuscripts from later periods in the Collection shows that much art worthy of our attention on aesthetic as well as historical and intellectual grounds was produced in the 17th, 18th and 19th centuries. Another important art form of this period is Islamic lacquer, represented in the Collection by more than 500 examples.  \n  \nThe catalogue of the Collection is an unprecedented 27-volume series, of which several are now published, and when completed will form a unique survey of the field to date. *Studies in the Khalili Collection* is a second series of publications related to the Islamic art collection, presenting more detailed analysis of certain objects.  \n  \n**Hajj and the Arts of Pilgrimage Collection**  \n  \nFor some 40 years, and under the auspices of The Khalili Family Trust, Professor Nasser D. Khalili has been actively involved in assembling a notable collection of objects relating to Hajj, the fifth pillar of Islam and the one that lends itself most readily to artistic expression. With over 3000 objects, the Hajj and the Arts of Pilgrimage Collection is now one of the largest and most important of its kind and includes major objects, many of which are unique.  \n  \nThe objects range in date from the 8th to the 20th centuries and geographically from China and India in the east to Morocco and the United Kingdom in the west. They include some 250 woven and embroidered textiles made for the two holy sanctuaries at Mecca and Medina, seven covers for the Egyptian and Syrian *mahmal*s, Qur’ans, illustrated manuscripts, scientific instruments, coins, paintings, rare books, prints, photographs and postcards, as well as important archival material and some unique historical documents.  \n  \nGiven its size and diversity, the Collection provides a comprehensive overview of Hajj, illustrating the religious, spiritual, cultural and artistic aspects of pilgrimage to the holy cities of Islam and the cosmopolitan nature of Hajj.  \n  \nFor several years now, the material has been undergoing a thorough programme of conservation which is soon to be completed, and research in preparation for its publication in a number of volumes is well advanced. The volumes will include contributions by a number of international scholars who are leading experts in the numerous disciplines that this subject evokes.","city":"London","website":"http://www.khalilicollections.org","email":"info@nourhouse.com"},"64c2796c-d403-5a23-958e-760dfdfdff22":{"name":"Sharjah Museums Authority","description":"The Sharjah Museums Authority was established in 2006 as an independent government department by His Highness Dr Sheikh Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah.  \n  \nSharjah Museums Authority includes 16 museums covering Islamic art and culture, Arab and International, modern and contemporary art, archaeology, heritage, science, marine life and the history of Sharjah and the region.  \n  \nThe museum collections featured in this project come from: the Sharjah Art Museum, opened in April 1997 and the largest art museum in the Gulf with both temporary exhibitions and permanent collections by renowned artists; the Sharjah Heritage Museum, re-opened in the Heritage Area (Heart of Sharjah) in 2012 and dedicated to highlighting Sharjah’s rich traditions, customs and culture as a source of pride and inspiration to the people of the United Arab Emirates (UAE) and its visitors; the Sharjah Maritime Museum, first opened in the Heritage Area in early 2003 to highlight the maritime life of the UAE and – in improved and expanded form – relocated to the Al Khan area in 2009 due to the importance of the sea and its significance in the region’s heritage; and the Sharjah Museum of Islamic Civilisation, opened in 2008 as the first of its kind in the UAE, featuring more than 5,000 artefacts from all over the Islamic World, arranged to celebrate Islamic Faith, Science and Technology and Art.  \n  \nThe purpose of the Sharjah Museums Authority as a whole is to deliver the highest quality of museums services for the people of the Emirate of Sharjah and all its visitors, through its facilities, exhibitions, programmes of learning, research and community outreach. Sharjah Museums Authority aims to achieve locally and internationally an understanding, appreciation and respect for Sharjah’s identity and for the value of its cultural and natural heritage.","city":"Sharjah","address":"Al-Layyeh, Sharjah  \nP.O. Box 39939  \nTurkey","website":"www.sharjahmuseums.ae/","phone":"+971 65 56 60 02","email":"info@smd.gov.ae"},"66b9c3ea-8a0f-5e5a-bb44-96e499235d93":{"name":"The Palestine Exploration Fund (PEF)","description":"The PEF is the world's oldest society for the study of the Ancient Levant, established in 1865 as a non-political, non-religious society and funded by public subscription. A pioneer in the exploration and recording of the region, it houses a unique collection of written and drawn archives, photographs, paintings and sketches, scientific equipment, natural history, ethnographic and archaeological material relating to the work of PEF explorers and its associates during its 150-year history. Notable scholars include: Charles Wilson, Charles Warren, Kathleen Kenyon, Charles Watson, Walter Besant, Conrad Schick, Claude R. Conder, Charles Clermont-Ganneau, Horatio Herbert Kitchener, Frederick Jones Bliss, T.E. Lawrence, C. Leonard Woolley, Olga Tufnell, John Garstang, William Simpson, William Flinders Petrie, Hilma Granqvist, John Crowfoot, R.A.S. Macalister, Duncan Mackenzie.","city":"London","address":"5-6 Dreadnought Walk  \nGreenwich  \nLondon  \nUnited Kingdom","website":"www.pef.org.uk/","phone":"+44 20 7935 5379","email":"execsec@pef.org.uk"},"6c9f6b97-7619-5be4-a904-0f96ffa2c698":{"name":"Austrian National Library","description":"The Austrian National Library (ANL) regards itself as a centre of information and research oriented towards serving the public, as an outstanding custodian of the national memory and as a multifaceted centre of education and culture. As the central academic library of the Republic of Austria, the ANL looks at a history rich in tradition from as far back as the 14th century. It is a living bridge between the rich heritage of the past and the future-oriented demands of a modern information society.  \n  \nThe ANL offers its users access to and professional advice on its own holdings (almost 8 million objects) and also on international data pools. It also accepts commissions on scientific research and operates documentation centres and service facilities. In the digital age services are increasingly processed online via the ANL home page.","city":"Vienna","address":"Josefsplatz, 1  \n1015 Wien  \nAustria","website":"www.onb.ac.at","phone":"+43 1 534 10 0","email":"onb@onb.ac.at"},"6f3cdc51-1adf-525e-99e8-9a95671e60e6":{"name":"Department of Antiquities","description":"In 1923 the Department of Antiquities (DoA) of Jordan was established under the management of Mr Ridha Tawfeq, who relocated it from Jarash to Amman. Law No. 24 for the year 1934 was the first piece of legislation concerning antiquities in Jordan; it was amended by Law No. 21 for the year 1988, and later on by Law No. 22 for the year 2004.  \n  \nThe main goal of the DoA at that time was to protect all antiquities defined according to the law as any movable or immovable object made, written, inscribed, built, discovered or modified by human beings including caves, sculpture, coins, pottery, manuscripts and other kinds of manufactured products that indicate the beginning and development of science, arts, handicrafts, religions, traditions of previous civilisations, or any part added or rebuilt after that time.  \n  \nThe DoA as an independent department has its own budget and director within the Jordanian Government.","city":"Amman","address":"10 Sultan al-Atrash Street,  \n11183 Amman  \nJordan","website":"www.doa.gov.jo","phone":"+962 6 4644336","email":"info@doa.gov.jo"},"702147de-a72c-52ce-a6b7-9f90e342a5ac":{"name":"National Library of France","description":"The Bibliothèque nationale de France (BnF, National Library of France) holds heritage assets collected over the last 500 years through legal deposit and an active policy of acquisitions: 14 million books and printed items, periodicals, manuscripts, prints, photographs, maps and plans, sheet music, coins, medals, audio documents, video, multimedia documents, sets and costumes. Its archives grow by around 150,000 items per year, covering the full range of intellectual, artistic and scientific disciplines.  \n  \nIt conserves, analyses, classifies and organises these treasures in order to make them available to the public, for research or general knowledge purposes.  \n  \nIt publicises them by organising exhibitions, conferences, talks and publishing works.  \n  \nIn addition to its reading rooms, which welcome more than 940,000 people every year, the BnF provides access to more than 1.5 million documents via the Gallica digital library.  \n  \nIt is also at the heart of the national network for cooperation between libraries, and it runs an international exchange and cooperation scheme.  \n  \nA dynamic institution that is open to the challenges of the future, BnF is developing projects to give it a new dimension, thereby helping to increase its influence and its leading role in taking on the major cultural challenges of tomorrow: the legal deposit of Internet documents, the development of on-line digital libraries (Gallica and its upgrade Gallica 2) and the mass digitisation of its collections.","city":"Paris","address":"Quai François-Mauriac  \n75706 Paris Cedex 13  \nFrance","website":"http://www.bnf.fr/","phone":"+33 (0)1 537 959 59"},"71396e5b-ca3a-5c08-b428-1959e047ae57":{"name":"Jordan Folklore Museum","description":"The museum is located in the western section of Amman’s Roman theatre. Founded by the Department of Antiquities, it opened in 1975. The museum exhibits items of daily life in the cities and villages and of the Badu (Bedouin) groups who lived on the West and East Bank during the 19th and first half of the 20th century. Musical instruments, vessels and tools for domestic activities and craftsmanship illustrate traditional daily life and economic activities of the time. Tents, domestic furniture and items to prepare coffee illustrate the way of life, work and the rules of hospitality among Bedouin men and women. As well as the traditional products of the local society and economy, imported weapons and objects testify to how local communities came into contact with the inventions and commercial products that were changing the world in the 19th and early 20th century.","city":"Amman","address":"Quraysh Street  \nAmman","website":"goo.gl/DNPGbL"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism & Antiquities, Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum of Islamic Art at the Pergamon Museum, State Museums","description":"**The Museum of Islamic Art is closed from October 2023 to March 2027 due to renovation and expansion works.**  \n  \nThe Museum of Islamic Art at the Pergamon Museum Berlin is the only institution of its kind in Germany, the oldest in the West and with its c. 93,000 pieces it houses one of the world’s finest collections of Islamic art from nearly all regions of Islamic rule.  \n  \nIts collections are especially rich in objects from an architectural context including the monumental façade of the caliphal palace of Mshatta (Jordan), dating from the mid-8th century. It is the largest artefact of Islamic Art in any museum worldwide. The unique dome from the Alhambra Palace in Granada (Spain) and 13th-century prayer niches from Kashan (Iran) and Konya (Turkey) are among the highlights. Most loved by our visitors is the finely painted wooden panelling of an upper-class house from Aleppo (Syria) from the early 17th century – it is the oldest surviving exemplar from the Ottoman World. Among the several archaeological groups from major excavations in the Islamic world the finds from the 9th-century caliphal capital of Samarra (Iraq) stand out. The collection also has a large number of important Ottoman and Persian carpets and bibliographical works of art, including numerous miniatures from the Mughal Empire.  \n  \nThe collection is displayed chronologically, allowing the visitor to follow the different stylistic phases of Islamic art and to develop a notion of the complex Islamic history and its artistic merits. Because of the large number of visitors (up to 900,000 yearly), only a small number of the most important works of art are on display. The museum will move inside Pergamon-Museum and will triple its exhibition space (3,000sq.m) by 2020. The layout and concept will discover new and innovative ways to present the cultural legacy.  \n  \nWith its rich art and archaeological collection, the Museum of Islamic Art is one of the leading research institutions dedicated to the material culture of the Middle East and neighbouring regions. Our many research, conservation and exhibition projects amount to a probing investigation of the urban legacies of the Near and Middle East. The institution houses important collections of archival photographs on Islamic art and architecture as well as an internationally outstanding library focused on art, architecture and archaeology in the world of Islam.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"8f0d2773-afea-51e8-ab5b-624187d06f77":{"name":"Ministry of Culture and Tourism (General Directorate for Cultural Heritage and Museums)","description":"Hosting many civilisations on its soil throughout the ages, Turkey can be identified as the cradle of civilisations and its culture is enriched by the ancient history of Anatolia, the Mediterranean, the Middle East, the Caucasus, eastern Europe and the Aegean. Turkey is now among the most important cultural and touristic places in the world with its thousands of years of cultural accumulation, unique geography, intercontinental location and natural beauty. Duties and activities including promotion, preservation and the transfer of cultural heritage into the future are the responsibility of the Ministry of Culture and Tourism. The ministry creates policies that keep abreast of contemporary socioeconomic and strategic developments occurring in the world and carries out its activities within the powers delegated by law.","city":"Ankara","address":"II. TBMM Binası Yanı  \n06110 Ulus/Ankara  \nTurkey","website":"www.kultur.gov.tr","phone":"+90 312 470 80 00","email":"kulturvalikmuze@gov.tr"},"9191d124-5250-5ce2-bd6f-5cfd57bd7081":{"name":"Wolf-Dieter Lemke Collection","city":"Berlin"},"9450a274-2645-5b09-944e-45f3f7d18699":{"name":"The British Museum","description":"The British Museum was established by Act of Parliament in 1753, the first national public museum in the world. From the beginning it granted free admission to all “studious and curious persons”. The founding collection was that of Sir Hans Sloane, a wealthy physician and collector. The original British Museum comprised three departments: Printed Books; Manuscripts (including coins); and Natural and Artificial Productions, which included everything from sculpture to mineral samples and zoological specimens. In January 1759 the British Museum opened its doors to the public.  \n  \nAs a product of the Enlightenment, the museum's job was to be a storehouse of knowledge for the use and benefit of the public, advancing all fields of scholarship. The museum therefore aimed to collect all kinds of material; it remains one of the few places in the world in which it is possible to see the world under one roof. During the 19th century the museum acquired representative collections of Greek, Roman, Egyptian and Assyrian antiquities, as well as material from across the Islamic world.  \n  \nThe museum itself had to grow to offer space to display the growing collections. Between 1823 and 1847 the original building was replaced by four large wings built around a central courtyard. In 1854 construction began on the iconic Round Reading Room in the central courtyard. The natural history collections were given their own home in the new Museum of Natural History in 1881. By 1973 the British Library and British Museum were administratively separated, and in 1999 the new British Library building opened at St Pancras. The British Museum site was expanded and modernised. In 2000 the Great Court opened, envisioned as a sunny piazza at the centre of the building, with up-to-date facilities such as lecture theatres, an education centre and facilities for school children, as well as restaurants and shops. In 2014 the World Conservation and Exhibitions Centre opened to the public, offering state-of-the-art facilities to care for, manage, research and display the collections.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"95021a9d-9348-5201-bc82-c46c9467b353":{"name":"Imperial War Museums","description":"IWM (Imperial War Museums) **tells the story of people who have lived, fought and died in conflicts involving Britain and the Commonwealth since the First World War.**  \n  \nOur unique collections, made up of the everyday and the exceptional, reveal stories of people, places, ideas and events. Using these, we tell vivid personal stories and create powerful physical experiences across our five museums that reflect the realities of war as both a destructive and creative force. We challenge people to look at conflict from different perspectives, enriching their understanding of the causes, course and consequences of war and its impact on people’s lives.  \n  \n**IWM’s five branches which attract over 2 million visitors each year are IWM London**, which has recently transformed with new, permanent and free Second World War Galleries, The Holocaust Galleries and the Blavatnik Art, Film and Photography Galleries; **IWM North**, housed in an iconic award-winning building designed by Daniel Libeskind; **IWM Duxford**, Britain's best preserved wartime airfield; Churchill War Rooms, housed in Churchill’s secret headquarters below Whitehall; and the Second World War cruiser **HMS *Belfast***.  \n  \n**IWM London**  \n  \nIWM London tells the stories of those whose lives have been shaped by war through the depth, breadth and impact of our Galleries, displays and events. Explore the First World War Galleries and iconic Atrium; extensive new Second World War and The Holocaust Galleries; IWM’s rich and diverse art, film and photography collection in the Blavatnik Art, Film and Photography Galleries or take in our latest major temporary exhibitions.","city":"London","address":"Lambeth Road, London, SE1 6HZ","website":"http://www.iwm.org.uk/","phone":"+44 (0)20 7091 3067 (Customer","email":"No direct email use https://www.iwm.org.uk/contact-us"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"The British Museum","description":"The British Museum was established by Act of Parliament in 1753, the first national public museum in the world. From the beginning it granted free admission to all “studious and curious persons”. The founding collection was that of Sir Hans Sloane, a wealthy physician and collector. The original British Museum comprised three departments: Printed Books; Manuscripts (including coins); and Natural and Artificial Productions, which included everything from sculpture to mineral samples and zoological specimens. In January 1759 the British Museum opened its doors to the public.  \n  \nAs a product of the Enlightenment, the museum's job was to be a storehouse of knowledge for the use and benefit of the public, advancing all fields of scholarship. The museum therefore aimed to collect all kinds of material; it remains one of the few places in the world in which it is possible to see the world under one roof. During the 19th century the museum acquired representative collections of Greek, Roman, Egyptian and Assyrian antiquities, as well as material from across the Islamic world.  \n  \nThe museum itself had to grow to offer space to display the growing collections. Between 1823 and 1847 the original building was replaced by four large wings built around a central courtyard. In 1854 construction began on the iconic Round Reading Room in the central courtyard. The natural history collections were given their own home in the new Museum of Natural History in 1881. By 1973 the British Library and British Museum were administratively separated, and in 1999 the new British Library building opened at St Pancras. The British Museum site was expanded and modernised. In 2000 the Great Court opened, envisioned as a sunny piazza at the centre of the building, with up-to-date facilities such as lecture theatres, an education centre and facilities for school children, as well as restaurants and shops. In 2014 the World Conservation and Exhibitions Centre opened to the public, offering state-of-the-art facilities to care for, manage, research and display the collections.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"afcd0644-a551-5a70-bc94-53544c095587":{"name":"Saint Louis Art Museum","description":"Mission  \n  \nThe Saint Louis Art Museum collects, presents, interprets, and conserves works of art of the highest quality across time and cultures; educates, inspires discovery, and elevates the human spirit; and preserves a legacy of artistic achievement for the people of St. Louis and the world.  \n  \nHistory  \n  \nThe Saint Louis Art Museum was founded in 1879, at the close of a decade that saw the establishment of art museums in great cities across the eastern half of the United States. This Museum’s comprehensive collections bear witness to the inspirational and educational goals to which its founder aspired and the moral and democratic imperatives he embraced. What began as a collection of assorted plaster casts, electrotype reproductions, and other examples of good design in various media rapidly gave way to a great and varied collection of original works of art spanning five millennia and six continents. Today the quality and breadth of the Museum’s collection secure for it a place among the very best institutions of its kind.  \n  \n(*Saint Louis Art Museum Handbook of the Collection*)**","city":"Saint Louis","address":"1 Fine Arts Drive, Forest Park  \nSt. Louis, Missouri 63110","website":"http://www.slam.org","phone":"+1 314.721.0072","email":"info@slam.org"},"b9d4d5c0-eec7-520a-a392-d3dac5d50347":{"name":"Tiraz: Widad Kawar Home for Arab Dress","description":"Tiraz is the home of the most complete collection of Palestinian, Jordanian, and other Arab costumes from the 19th and 20th centuries, with over 2000 costumes and weavings. It is a Jordan-based institution dedicated to preserving the Widad Kawar Collection and promoting the vibrant cultural heritage of Palestine, Jordan, and wider Arab living traditions.","city":"Amman","address":"19 Riad Mufleh Street  \nAmman  \nJordan","website":"http://tirazcentre.org/","phone":"+962 77 672 7209","email":"info@tirazcentre.org"},"bb94125a-04ef-5227-b3bb-8ebc7dfdafbe":{"name":"Jordan Museum for Costumes and Jewellery","description":"In the eastern section of Amman’s Roman theatre, the museum exhibits a comprehensive collection of clothing, textiles and silver jewellery from the West and East Bank. Founded in 1971 by the Department of Antiquities, the museum illustrates in detail the variety of traditional costumes of men and women from cities, villages and Bedouin communities. The exhibition gives the visitor the opportunity to know more about daily and domestic life, work and traditional craftsmanship, illustrating through textiles, embroidery and costume the meaning of decorative patterns, revealing the trousseau each woman prepared since childhood for her marriage and showing the importance of jewellery in relation to events such as marriage and dowry. The costumes and jewellery are also important examples of how local craftsmanship was a significant source of trade and income.","city":"Amman","address":"Quraysh Street  \nAmman","website":"goo.gl/joSyZT"},"d2b9c791-32d7-590a-9a1b-3f6766d360d6":{"name":"Sheikh Faisal Bin Qassim Al Thani Museum (FBQ Museums)","description":"Founded in 1998 by H.E. Sheikh Faisal Bin Qassim Al Thani, the Sheikh Faisal Bin Qassim Al Thani Museum (FBQ) is the Sheikh’s brainchild and a monument to his enduring passion for collecting international items of peculiar and historical relevance.  \n  \nA museum with a global perspective, FBQ brings together over 30,000 objects from across the ages and a multitude of cultures. It represents, in effect, a modern version of a ‘Cabinet of Curiosities’, the historic and eclectic room of marvels from the Renaissance.  \n  \nThe journey through more than 30 galleries ranges from the prehistoric to the present day, encompassing several themes: Islamic art, Qatari heritage, carpets, weapons, vehicles, jewellery and currency. Gallery highlights also include a rebuilt Syrian house and the Quran room. The artefacts showcased in FBQ’s galleries embody Islam’s visual culture and its far-reaching traditions from southern Europe, North Africa, the Middle East and South Asia. The thematic presentation of the works draws attention to the similarities of artistic forms and cultural expressions and their interdependence among societies.  \n  \nFBQ is much more than a museum. Since the construction of the main museum in Al Shahaniya in 1998 using local stone and traditional turrets, FBQ has been fulfilling the museum founder’s aim to create and share a new cultural heritage for Qatar and beyond. With the establishment of the Carpet Museum in the heart of Doha in 2014 and the addition of the Car Museum, the FBQ complex of museums aims to inspire people to engage with cultural heritage by sharing stories from near and far. FBQ strives to foster cross-cultural dialogue through exhibitions, education and public programs, both locally and internationally.  \n  \nIn 2010, the museum was selected by Qatar’s Ministry of Arts, Culture, and Heritage as one of the cultural landmarks of the ‘Doha 2010 Capital of Culture’ activities.","city":"Doha","address":"Zone 80, Street 9999 Building No. 365, Al Samariya  \nAl Shahaniya, Doha Qatar  \nP.O. Box number 006","website":"www.fbqmuseum.org","phone":"+974 4486 1444","email":"info@fbqmuseum.org"},"d9f6c12d-ca03-5d6e-b33c-c1a37daec1fa":{"name":"Glasgow Museums","description":"Although not the capital, Glasgow is the largest city in Scotland. It prides itself on its multi-cultural scene with a prosperous Muslim community representing the largest non-white Scottish group in the city and in Scotland. The Glasgow Museums collection is the biggest managed by any local authority in the United Kingdom and one of a handful of municipal collections that are recognized to have national importance. This service was founded in 1854 with the McLellan collection of European paintings, which was donated to the people of Glasgow by Archibald McLellan together with a building to house it. At present Glasgow manages thirteen public museums covering a wide range of subjects.  \n  \nGlasgow’s Islamic collections come from all over the world with objects from Africa, Spain, the Middle East and Central Asia. The oldest items date back to the 10th and 11th centuries. The earliest objects to enter the museums’ collections were donated in the 1870s. Though many of these are private donations, some were purchased by the museum service. The Islamic collections are mainly housed at The Burrell Collection, The St Mungo Museum of Religious Life and Art, Glasgow Museums Resource Centre, and Kelvingrove Art Gallery and Museum.  \n  \nThe main strength of the Islamic collections lies in the large donation of Sir William Burrell and his wife, who gifted their massive and varied collection to Glasgow in 1944. It includes Iranian and Mughal Indian ceramics and carpets, Turkish and Uzbek textiles and embroideries, and Hispano-Moresque lustrewares. The other Islamic collections of Glasgow Museums include objects from Mughal India, Fatimid and Mamluk Egypt and Syria, the Ottoman Middle East, and 19th century Berber and Arab North Africa. In addition to all of the above, Glasgow Museums is interested in developing its contemporary Islamic collections by welcoming donations of modern Islamic arts and crafts, as well as strengthening the other areas within its Islamic collections.","city":"Glasgow","address":"The Burrell Collection  \nPollok Country Park  \n2060 Pollokshaws Road  \nG43 1AT  \nGlasgow, United Kingdom","website":"http://www.glasgowlife.org.uk/","phone":"+44 141 2872550"},"e0e750b1-944e-5ed9-b290-6a31c17d5cff":{"name":"Numismatic Museum (Ahli Bank)","description":"The Numismatic Museum of Jordan Ahli Bank was established in 1999, securing Dr. Nayef G. Goussous’ knowledge and expertise as its curator, and ensuring the continuity and preservation of the collection and its passing on to future generation.  \n  \nThe bank museum is the first of its kind in the country, with collections numbering well over 40,000 coins. The ideals of the collector and the wisdom and generosity of a banking institution come together to produce an excellent educational legacy beneficial to society.  \n  \nThe Jordan Ahli Bank Numismatic Museum is a specialised museum containing coin collections spanning nearly 2,500 years, the earliest dating back to 600 BC and the latest coming from recent commemorative issues. The museum boasts one of the best Umayyad copper coin collections in the world, published in Dr Goussous’ *Rare and Inedited Copper Umayyad Coins* (2004). In addition, the museum has an outstanding collection of Mesopotamian, Phoenician, Roman, Byzantine and Islamic weights. Furthermore, the museum has extensive collections of Nabataean coins and from Decapolis and provincial Arabia, many of which are still unpublished.  \n  \nThere are more than 4,500 coins and artefacts displayed in 25 cabinets. The museum is open to the public. The visitors can enjoy seeing the collections and learning about their history from the coins. The specialist certainly benefits from the coin collections and the library, with many graduate college students and numismatists regularly visiting the museum where they are welcomed and assisted.  \n  \nThere is continuing academic work on unpublished coins numbering well over 1,200 coins. Two volumes of rare and unpublished coins, dated to Ancient, Classical and Nabataen periods as well as Islamic periods, from the museum collection are in press.","city":"Amman","address":"Shmeisani – Queen Nour st.  \n11181 Amman  \nP.O. Box 3103  \nJordan","website":"https://ahli.com/the-numismatic-museum/","phone":"+962 6 5687090"},"e2017a20-f96c-568e-bb88-af8f8335d94a":{"name":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","description":"In striving to provide a synoptic vision of the arts of the entire Islamic world, and since the 1970s, Professor Nasser D. Khalili has assembled his collection of Islamic art under the auspices of The Khalili Family Trust. With holdings of more than 28,000 objects documenting the range of artistic production of the Islamic lands over a period of some 1400 years, the Collection now ranks among the best in the world and represents a new generation of Islamic art collections.  \n  \nThe Collection includes an outstanding array of manuscripts of the Holy Qur’an and of illustrated manuscripts, and the coverage of the decorative arts – ceramics, textiles, glass, metalwork and lacquer as well as seals and coins – is comprehensive.  \n  \nThe holdings of manuscripts and folios of the Holy Qur’an are the first to have been assembled systematically in order to illustrate the whole history of Qur’an production, both in terms of time span and geographical range – from the 8th to the 20th centuries, and from Morocco to China. Similar sequences have been assembled for painting and the decorative arts. Glass, ceramics and metalwork, for example, are represented in the full range of techniques from the pre-Islamic period through to the 19th century.  \n  \nLater Islamic art has been given the same level of attention. The wealth of important objects and manuscripts from later periods in the Collection shows that much art worthy of our attention on aesthetic as well as historical and intellectual grounds was produced in the 17th, 18th and 19th centuries. Another important art form of this period is Islamic lacquer, represented in the Collection by more than 500 examples.  \n  \nThe catalogue of the Collection is an unprecedented 27-volume series, of which several are now published, and when completed will form a unique survey of the field to date. *Studies in the Khalili Collection* is a second series of publications related to the Islamic art collection, presenting more detailed analysis of certain objects.  \n  \n**Hajj and the Arts of Pilgrimage Collection**  \n  \nFor some 40 years, and under the auspices of The Khalili Family Trust, Professor Nasser D. Khalili has been actively involved in assembling a notable collection of objects relating to Hajj, the fifth pillar of Islam and the one that lends itself most readily to artistic expression. With over 3000 objects, the Hajj and the Arts of Pilgrimage Collection is now one of the largest and most important of its kind and includes major objects, many of which are unique.  \n  \nThe objects range in date from the 8th to the 20th centuries and geographically from China and India in the east to Morocco and the United Kingdom in the west. They include some 250 woven and embroidered textiles made for the two holy sanctuaries at Mecca and Medina, seven covers for the Egyptian and Syrian *mahmal*s, Qur’ans, illustrated manuscripts, scientific instruments, coins, paintings, rare books, prints, photographs and postcards, as well as important archival material and some unique historical documents.  \n  \nGiven its size and diversity, the Collection provides a comprehensive overview of Hajj, illustrating the religious, spiritual, cultural and artistic aspects of pilgrimage to the holy cities of Islam and the cosmopolitan nature of Hajj.  \n  \nFor several years now, the material has been undergoing a thorough programme of conservation which is soon to be completed, and research in preparation for its publication in a number of volumes is well advanced. The volumes will include contributions by a number of international scholars who are leading experts in the numerous disciplines that this subject evokes.","city":"London","website":"http://www.khalilicollections.org","email":"info@nourhouse.com"},"f56fbae3-04a9-59bb-ba75-310d3ef169aa":{"name":"Directorate of State Archives of the Presidency of the Republic of Türkiye","description":"The Directorate of State Archives of the Presidency of the Republic of Türkiye is the official institution responsible for preserving, organizing, and providing access to the documentary heritage of the Turkish state. Its origins date back to the establishment of the Hazine-i Evrak (Treasury of Documents) in 1846 during the reign of Sultan Abdülmecid, the foundation of modern archival administration in the Ottoman Empire. Today, it operates under the Presidency of the Republic of Türkiye.  \n  \nThe Directorate maintains two principal archival collections: the Ottoman Archives, containing hundreds of millions of documents and hundreds of thousands of register books on the history and administration of the Ottoman Empire, and the Republic Archives, which preserve the documentary heritage of the Republic of Türkiye.  \n  \nIn addition to preserving and digitizing archival materials, the Directorate provides research services, publishes archival sources, and carries out conservation and restoration work. It is widely recognized as one of the world's leading archival institutions.","city":"Ankara","address":"Gayret Mahallesi 95. Sokak No:3 06170 Yenimahalle/Ankara","website":"https://www.devletarsivleri.gov.tr/","phone":"+90 312 307 90 00","email":"dab@devletarsivleri.gov.tr"},"f5c11bd8-33ca-5552-a5d9-8437afd6ee27":{"name":"The Lebanese University","description":"The Lebanese University is the only public institution for higher learning in Lebanon. The university has 17 faculties across Lebanon and serves various cultural, religious and social groups of students and teachers.  \n  \nThe independent university enjoys administrative, academic and financial freedom. Among its educational goals are creating a unique mix of cultures and providing the basic and essential education to allow students to enter various professions.  \n  \nIn spite of the crisis in the region that has existed since 1975, leaving wounds and tragedies, the Lebanese University has remained the national home of science. Rivalling the most prestigious universities in Lebanon and abroad, and leading the process of human development that spread all over the country, its graduates became ambassadors of Lebanon in all the corners of the earth.  \n  \nOur university respects the national demand for academic freedom, which has become a right of scholars and specialists, based on laws and international conventions and regional organisations and sometimes more, applying the important rules of human rights: the right of learning and seeking knowledge with higher education and participation in international projects to develop academic programmes and exchange of research.The university has maintained the quality of higher education, although we seek more contact with the spirit of this modern age and its promising accomplishments by increasing relations and agreements with other universities and institutions all over the world. In spite of the political pressures on the people of the university and attempts to split them into factions, the majority of them have remained faithful to the spirit of the national organisation and the struggles of the early pioneers who insisted on building the edifice of national higher education, in the framework of the values of freedom and justice.","city":"Beirut","address":"Central Administration, Museum, Beirut  \n  \nPostal address: P.O. Box 6573/14 Badaro, Museum  \nBeirut  \nLebanon","website":"http://www.ul.edu.lb/","phone":"+961 1 612830; 1 612831","email":"ibady@ul.edu.lb"},"f61576e8-42c0-5ee1-ac85-8b8e8aa2470b":{"name":"Library of Congress","city":"Washington, D.C.","address":"101 Independence Ave, SE  \nWashington, DC 20540","website":"https://www.loc.gov/","phone":"+1 (202) 707-5000"},"f7e39862-fd17-55f3-bcf9-cb93787c8817":{"name":"MIBACT | National Museum of Prehistory and Ethnography “Luigi Pigorini”","description":"The National Museum of Prehistory and Ethnography was founded in 1875 by Luigi Pigorini. The museum is the main Italian centre for the preservation and display of pre-historic and non-European collections. Its main tasks are: archaeological and anthropological research; study, documentation and conservation of the museum’s collections; management of permanent and temporary exhibitions; educational programmes; and training in conservation, museological, archaeological and anthropological fields.  \n  \nToday, testifying to the new Italian multicultural reality, the Pigorini Museum offers itself as a cultural point of reference and a privileged interlocutor for immigrants and for the ethnic minorities already settled in the country.","city":"Rome","address":"Piazza Guglielmo Marconi, 14  \n00144 Roma  \nItaly","website":"www.pigorini.beniculturali.it","phone":"+39 06 549521","email":"s-mnpe@beniculturali.it"},"fdce3078-0f3e-504f-8c9d-b8c96d6ff7fb":{"name":"The National Museum","description":"The Saudi National Museum is part of the King Abdul Aziz Historical Centre administered by the Saudi Commission for Tourism and Antiquities. It was established in Riyadh on 6.10.1419 AH / 23.1.1999 AD in celebration of 100 years of unification of the Kingdom of Saudi Arabia.  \n  \nThe National Museum is the main building in the King Abdul Aziz Historical Centre, covering an area of 28,000 square meters, including exhibition halls. It is a cultural landmark displaying the antiquities and heritage of the Kingdom of Saudi Arabia and presenting past cultures, civilisations and historic events that occurred in the Arabian Peninsula in general and in the Kingdom of Saudi Arabia in particular through exhibitions using the most modern resources and technology.  \n  \nThe Museum consists of eight galleries; each represents a particular cultural and historical period in chronological order from prehistoric times until the modern period. The principal objective of the National Museum is to highlight the national cultural identity and its depth and dimensions through the antiquities and heritage of the Kingdom of Saudi Arabia.","city":"Riyadh","address":"King Abdul Aziz Historical Center, Al-Muraba  \nP.O. Box: 3734  \n11481 Riyadh  \nSaudi Arabia","website":"www.nationalmuseum.org.sa","phone":"+966 1 1 4029500","email":"TNM@scta.gov.sa"}}

package/translations/partners.es.json

@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum for Islamic Art at the Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"d9f6c12d-ca03-5d6e-b33c-c1a37daec1fa":{"name":"Museos de Glasgow","description":"Aunque no es la capital, Glasgow es la ciudad más grande de Escocia. Se enorgullece de su escena multicultural que representa una comunidad musulmana tan grande como próspera. La colección de los Museos de Glasgow es la más grande gestionada por cualquier autoridad local en el Reino Unido y una de las pocas colecciones municipales que son reconocidas por tener importancia nacional. Este servicio fue fundado en 1854 con la colección de pintura europea McLellan, que fue donada a la gente de Glasgow por Archibald McLellan junto con un edificio para albergarlo. En la actualidad, Glasgow gestiona trece museos públicos que cubren una amplia gama de temas.  \n  \nLas colecciones islámicas de Glasgow proceden de todo el mundo con objetos de África, España, Oriente Medio y Asia Central. Los elementos más antiguos se remontan a los siglos X y XI. Los primeros objetos que entraron en las colecciones de los museos fueron donados en la década de 1870. Aunque muchos de estos son donaciones privadas, algunos fueron adquiridos por el servicio del museo. Las colecciones islámicas se encuentran principalmente en The Burrell Collection, The St Mungo Museum of Religious Life and Art, Glasgow Museums Resource Centre y Kelvingrove Art Gallery and Museum.  \n  \nLa principal fortaleza de las colecciones Islámicas radica en la gran donación de Sir William Burrell y su esposa, quienes obsequiaron su enorme y variada colección a Glasgow en 1944. Incluye cerámica y alfombras Iraníes y Mogoles, textiles y bordados Turcos y Uzbecos, y Lustrewares Hispano-Moriscos. Las otras colecciones Islámicas de los museos de Glasgow incluyen objetos de la India Mogol, los Fatimíes y Mamelucos de Egipto y Siria, el Oriente Medio Otomano y los Bereberes y Árabes del norte de África del siglo XIX. Además de todo lo anterior, los museos de Glasgow están interesados en desarrollar sus colecciones Islámicas contemporáneas dando la bienvenida a las donaciones de artes y artesanías Islámicas modernas, así como en el fortalecimiento de las otras áreas dentro de sus colecciones Islámicas.","city":"Glasgow","address":"The Burrell Collection  \nPollok Country Park  \n2060 Pollokshaws Road  \nG43 1AT  \nGlasgow, United Kingdom","website":"http://www.glasgowlife.org.uk/","phone":"+44 141 2872550"}}

package/translations/partners.fr.json

@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Musée d’art islamique du Pergamon Museum (Museum für Islamische Kunst)","description":"**Le Musée d'Art Islamique est fermé d'octobre 2023 à mars 2027 en raison de travaux de rénovation et d'agrandissement.**  \n  \nAvec la présentation de la monumentale façade du palais omeyyade de Mchatta par l’empereur germanique aux musées de Berlin, la collection de tapis offerte par Wilhem von Bode et un prêt à long-terme de la collection d’art islamique de Friedrich Sarre, la collection d’art islamique fut installée dans l’un des bâtiments des Musées royaux (plus tard musées d’État) de Berlin en 1904. Depuis, la collection n’a cessé de s’accroître à travers des dons, acquisitions et produits de fouilles. En 1932 le musée acquérait les galeries nouvellement créées au Pergamon Museum.  \n  \nAprès la Seconde Guerre mondiale, la perte de bon nombre des grands tapis et la dispersion de beaucoup de pièces tant à Berlin-Est qu’à Berlin-Ouest, la collection fut finalement réunie dans de nouvelles galeries à l’intérieur du Pergamon Museum en 2000.  \n  \nLe musée abrite aujourd’hui l’une des plus prestigieuses collections d’art islamique du monde, en provenance de presque toutes les régions d’obédience islamique. Ses collections sont tout spécialement riches en objets issus d’un contexte architectural, dont la façade de Mchatta, deux grandes niches de prière provenant de Kachan, Iran, et de Konya, Turquie, une coupole de l’Alhambra de Grenade, Espagne, une chambre d’une maison d’Alep, Syrie, et des trouvailles venant des principales fouilles entreprises dans le monde islamique. La collection est également riche en tapis persans et ottomans de première importance, et en chefs-d’œuvre bibliophiliques, parmi lesquels des miniatures de l’empire moghol.  \n  \nLa collection est exposée suivant un ordre chronologique, ce qui permet au visiteur de suivre les différentes phases stylistiques de l’art islamique dans les galeries et de se faire une idée de la complexité de l’histoire islamique et de ses expressions artistiques. Étant donné le grand nombre de visiteurs, seules quelques-unes des œuvres d’art les plus importantes sont exposées. En dehors des galeries permanentes, le musée organise des manifestations temporaires présentant des expositions dynastiques, des thèmes d’intérêt spécifique tels que les relations avec l’art islamique contemporain ou des expositions développées ailleurs.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","description":"Fondé en 1753 par Acte du Parlement, le British Museum s’installait dès l’année suivante à Montagu House, une résidence aristocratique sur le site de l’actuel musée à Bloomsbury, Londres. La collection fondatrice fut cédée à la nation britannique par Sir Hans Sloane, un riche physicien et collectionneur, mort en 1753, contre paiement de 20 000 livres à ses deux filles. Outre la collection d’objets de Sloane et sa bibliothèque, le premier British Museum possédait quatre autres importantes collections de livres. C’est d’ailleurs à un bibliothécaire en chef qu’était confiée la direction des trois départements du musée: Livres imprimés (y compris la presse); Manuscrits (de même que monnaies et dessins) ; Productions naturelles et Productions artificielles, qui rassemblaient toutes sortes de pièces, de la sculpture aux échantillons minéraux, des momies aux spécimens zoologiques. En janvier 1759, le British Museum ouvrait ses portes au public.  \n  \nDans la mesure où l’Acte de 1753 incarnait les idées universalistes des Lumières, pour qui tous les arts et toutes les sciences formaient un seul et même vaste réseau de corrélations, la tâche du Musée était de faire progresser tous les champs du savoir pour les chercheurs et les “esprits curieux” – et pour le meilleur profit du grand public. En tant que dépositaire du savoir, le British Museum avait vocation à tout collectionner. Une telle position impliquait inévitablement un développement constant et la nécessité de bâtiments plus grands dans lesquels stocker des collections de plus en plus volumineuses. Entre 1823 et 1847, le bâtiment d’origine fut remplacé par quatre grandes ailes construites autour d’une cour centrale. La bibliothèque continua à s’accroître à un tel rythme qu’une nouvelle salle de lecture s’imposait. Les travaux commencèrent en 1854 par la construction, dans la cour centrale, de la nouvelle Salle de lecture ronde à coupole.  \n  \nDans les années 1860, le besoin d’un nouveau bâtiment capable d’héberger les collections d’histoire naturelle en plein développement était reconnu, et en 1881 le nouveau Muséum d’histoire naturelle ouvrait au public. En 1973, la British Library et le British Museum étaient séparés administrativement, et dans les années 1990, les travaux d’un nouvel édifice pour la bibliothèque furent entrepris. La nouvelle British Library ouvrit en 1999, laissant au British Museum l’opportunité de s’agrandir et de se moderniser. En 2000, le British Museum ouvrait la Great Court, conçue comme une piazza ensoleillée au centre du bâtiment, mais dotée d’équipements modernes tels que des salles de conférence, des restaurants, une cafétéria pour les scolaires et des boutiques.  \n  \nLa collection initiale du musée, qui comptait quelques objets islamiques, s’enrichit considérablement au cours des XIXe et XXe siècles par des achats, des dons et des legs. Avec le Victoria and Albert Museum, le British Museum abrite la plus importante collection de céramiques d’Iznik au monde. Les objets médiévaux en métal incrusté, les collections archéologiques, les œuvres sur papier et sur verre émaillé constituent d’autres ensembles de grande valeur. La collection, avec les pièces archéologiques, compte environ 40 000 objets.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"d9f6c12d-ca03-5d6e-b33c-c1a37daec1fa":{"name":"Musées de Glasgow","description":"Bien qu’elle n’en soit pas la capitale, Glasgow est la plus grande ville d’Écosse, et s’enorgueillit d’un panorama multiculturel, avec notamment une communauté musulmane aussi importante que prospère. La collection des Musées de Glasgow est la plus importante à dépendre d’une autorité de tutelle locale au Royaume-Uni, et l’une des rares collections municipales réputée d’importance nationale. Ce secteur fut fondé en 1854 avec la collection McLellan de peintures européennes, offerte à la population de Glasgow par Archibald McLellan en même temps qu’un bâtiment destiné à l’abriter. Aujourd’hui, Glasgow gère treize musées publics dévolus à une grande variété de sujets.  \n  \nLes collections islamiques de Glasgow proviennent du monde entier, avec des objets d’Afrique, d’Espagne, du Moyen-Orient et d’Asie centrale, dont les plus anciens remontent aux Xe et XIe siècles. Bien que nombre de pièces proviennent de donations privées, certaines ont été achetées par les services du musée. Les collections islamiques sont essentiellement conservées au sein de la Burrell Collection, au Musée St Mungo de vie et d’art religieux, au Centre de ressources des musées de Glasgow et au Musée-galerie d’art de Kelvingrove.  \n  \nLa partie la plus consistante des collections islamiques est issue de la vaste donation de Sir William Burrell et de son épouse, qui léguèrent leur énorme collection à Glasgow en 1944. Elle comprend des céramiques et des tapis iraniens et moghols, des broderies et textiles turcs et ouzbeks, et des céramiques à reflets métalliques hispano-maghrébines. Les autres collections islamiques des musées de Glasgow comportent des objets de l’Inde moghole, de l’Égypte et de la Syrie fatimides et mameloukes, du Proche-Orient ottoman et de l’Afrique du Nord berbère et arabe du XIXe siècle. Par ailleurs, les musées de Glasgow s’attachent à développer leurs collections islamiques contemporaines en accueillant des donations d’art et d’artisanat islamiques modernes, et en renforçant les autres domaines de ses collections islamiques.","city":"Glasgow","address":"The Burrell Collection  \nPollok Country Park  \n2060 Pollokshaws Road  \nG43 1AT  \nGlasgow, United Kingdom","website":"http://www.glasgowlife.org.uk/","phone":"+44 141 2872550"}}

package/translations/partners.it.json

@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museo di Arte Islamica al Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/partners.pt.json

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+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum for Islamic Art at the Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/partners.tr.json

@@ -0,0 +1 @@
+{"580d4203-2fdf-5800-bff6-a6e45724577a":{"name":"Ministry of Culture, Directorate General of Museums and Antiquities"},"804de1a6-e288-5381-8982-10883c9b8fcb":{"name":"Ministry of Tourism,Department of Antiquities","city":"Amman","address":"Department of Antiquities of Jordan (DoA)  \nP.O. Box 88  \nAmman, Jordan","website":"http://www.doa.gov.jo/En/index.php","phone":"+962 6 4644336, 4641275","email":"doa@nic.net.jo"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Pergamon Müzesi'ne bağlı İslam Eserleri Müzesi","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"9d61c11b-d2fa-5227-9f73-d450019497be":{"name":"Ministry of Tourism and Antiquities"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/themes.en.json

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+{"0593ab8d-bef3-5793-857c-0dc9a8f95ab4":{"title":"Objects of Exchange and Mobility","presentation":"","quote":""},"0e141b33-0d0b-5751-95ed-4573ce900317":{"title":"Building the Sultan’s Dream","presentation":"","quote":""},"2d07bb0f-b16e-53ad-b710-eb9840a46d50":{"title":"Crimson is the Colour","presentation":"","quote":""},"47693e45-d390-5d8b-b761-f610b3fab532":{"title":"By Rail, by Road, and by Sky","presentation":"","quote":""},"47c76d39-06fe-58c3-b694-73c081518a4d":{"title":"Modernity Meets Timelessness","presentation":"","quote":""},"6280d933-7ffb-55c2-a9be-5c21ba618ad6":{"title":"The Railways and the popular culture","presentation":"","quote":""},"705dfb0c-00cf-54a9-9f9d-314ae8771258":{"title":"Lines of History","presentation":"This section traces the historical context of the Hijaz Railway through architectural remains, archival  \nphotographs, engineering plans, paintings, and historical artefacts. Key landmarks such as the  \nDamascus Railway Station embody a synthesis of Ottoman, Arab, and local architectural influences.  \n  \nIn Jordan and Saudi Arabia parts of the railway have been restored, serving as heritage tourism sites  \nand cultural memory anchors.  \n  \nBeyond its physical infrastructure, the railway represented an unprecedented mobilisation of  \nresources, expertise, and imperial ambition, reflecting ways in which transportation could reshape  \nthe religious and political landscapes of the early modern Middle East.","quote":""},"70a44ddf-91b4-5789-9087-b25d0f0d84c8":{"title":"Travellers and Identities","presentation":"","quote":""},"7233ff48-d3bc-569e-a2a1-51267d0afd15":{"title":"Vision and Contemporary Reflections","presentation":"The exhibition also acknowledges the diverse realities that define mobility in the region today. While  \nsome parts of the Arab and Islamic worlds experience urban expansion and connectivity, others are  \nmarked by conflict, border restrictions, and displacement. The Hijaz Railway becomes a space to  \nreflect on what freedom of movement, pilgrimage, and regional solidarity mean today.  \n  \nIn doing so, the exhibition invites museum partners and audiences to see the railway not simply as a  \nhistorical relic, but as a living symbol – a vision of interconnected pasts and futures, and a call to  \npreserve, reimagine, and engage with shared cultural narratives across generations.  \n  \nNew and old photographs, illustrations and short films of railway infrastructures and cities should  \nprovide views of developments and changes over time.  \n  \nFor this section we look forward to receiving material from partners in other parts of the Arab /  \nIslamic world, including the countries of the Arabian peninsula, Egypt, the Maghreb as well as Iran  \nand our Partners in the Far East.","quote":""},"744650c8-71c9-5cc3-9dec-e2fece5ed1e5":{"title":"Architecture as an Agent of Change","presentation":"","quote":""},"9922819a-39a2-564b-9bb6-55ddbad28666":{"title":"Territories of Encounter","presentation":"","quote":""},"a9b7a575-60fd-5fe3-b5be-a36edd80fdd4":{"title":"Along the Line, Through the Window","presentation":"","quote":""},"cb53097b-7a56-5261-8740-2063238f1dc7":{"title":"About","presentation":"This is the About section","quote":""},"d8a5bd81-c1f8-52db-a349-bb93b84539a5":{"title":"Engineering Sacred Mobility","presentation":"","quote":""},"e23386c4-18a5-5c2e-a397-0d21a1c3d559":{"title":"New Beginnings and Hopes","presentation":"","quote":""},"f9fbfb04-4e15-5b34-8b72-548b41e013c8":{"title":"From the Train Window","presentation":"This part of the exhibition invites visitors to imagine the cultural and emotional experience of  \ntravelling along the Hijaz Railway. Through a rich selection of artworks, maps, and photographs, we  \ntrace the imagined route of the train as it passes through the diverse landscapes of the region –  \ncrossing deserts, stopping at bustling markets, gliding past ancient mosques, and weaving through  \nmountain passes and historic cities.  \n  \nThe common thread of this theme is the idea of the Hijaz Railway as a metaphor for connectivity,  \nunity, and shared cultural heritage. While riding through the Levant and the Hijaz regions, travellers  \ncould experience the pluralism of the Arab and Islamic worlds firsthand. Although rooted in faith, the  \nrailway also promised opportunities for exchange, dialogue, and coexistence across regions with  \nunique traditions but shared aspirations.","quote":""},"705dfb0c-00cf-54a9-9f9d-314ae8771258/aa7d91d1-f06b-582b-82fb-d18841b27490":{"contextual_description":"DH: temporary cover image of Theme I"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/ec749020-bb1a-5db6-8411-fdafb79fcc24":{"contextual_description":"DH: Proposed by **Saint Louis Museum** for Theme I  \n  \nWhen these tiles were made in the AH 10th / AD 16th century, Syria was a province of the Ottoman Empire, which spanned an area from Eastern Europe to Iraq to North Africa. Ottoman styles originating in the capital, Istanbul, were emulated in the provinces. In Damascus, tiles of extraordinary quality were made in a style similar to those produced at Iznik, in modern Turkey, for the court in Istanbul. The main difference is that the Damascus potters focused on blue, green and sometimes purple on a brilliant white background, while the Iznik potters incorporated the color red. A floral composition such as this one could be extended indefinitely to cover as much surface as needed. Large quantities of Damascus tiles were made to decorate the porches and interior walls of the many buildings constructed in Syria during this prosperous era."},"705dfb0c-00cf-54a9-9f9d-314ae8771258/c500b7cb-0807-5c9e-bd1e-fe988f90e667":{"contextual_description":"DH: Proposed by Saint Louis Museum for Theme I  \n  \nAlthough there is little resemblance to a checkerboard, this rug is typical of the “Chessboard” subgroup of Syrian carpets. This rug illustrates an artistic interplay between court and commercial weaving. Its geometric designs imitate patterns from earlier, expensive, and rare court carpets, probably woven for the Turkmen princes of Tabriz far to the east in Iran. Inspired by earlier court examples, rugs such as this one were woven in Ottoman-controlled Syria in the 16th and 17th centuries, to meet the enormous appetite for pile carpets in Western Europe at the time."},"705dfb0c-00cf-54a9-9f9d-314ae8771258/b9a8fef9-ce52-58c1-9339-0e94488817ef":{"contextual_description":"DH: Proposed by **Saint Louis Museum** for Theme I  \n  \nGlass-making in the Islamic world reflects a vibrant tradition dating from ancient times. This small Syrian jar dating to the Umayyad period (661–750) is a good example of the continuity of Roman glass-making traditions."},"705dfb0c-00cf-54a9-9f9d-314ae8771258/9c121659-92fd-5be6-8e2a-f5f53bf0669a":{"contextual_description":"DH: Proposed by **Saint Louis Museum** for Theme I  \n  \nGlass-making in the Islamic world reflects a vibrant tradition dating from ancient times. The Romans first discovered how to blow glass on a rod, while the Iranians in late antiquity specialised in moulded glass with wheel-cut decoration."},"705dfb0c-00cf-54a9-9f9d-314ae8771258/d024a1e4-fd26-5aae-88e1-997f4d91fed9":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/abb60822-58a6-56f9-bd00-7a0fa63d3cde":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/409758b9-70d2-52b2-9dfb-711a1854c415":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/62eda6fb-1952-5fe5-bb0c-1c27c97447e5":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/e7c00652-3ceb-555c-b20e-2d585fd1626f":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/8db9334a-d84d-5774-b2f9-f7d71f68dce5":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/78e08dcb-c633-5f34-a5f1-c35aa80fbe57":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/3907b15f-dc00-5a19-9a81-c37a4cc2b3f6":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/3685634b-ce26-5936-8b35-9c702960dd07":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/22a32809-1c34-5d45-9c75-4b5d0ff131ec":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/7971dc72-21df-57f6-a953-193548c01f28":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/c9c3837e-2e93-51de-97f1-05253ec14e24":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/688ed3e9-212b-5bf4-aa59-7be6bfd011a0":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/10b6e79b-6b4d-58d2-b243-826a2e526d9d":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/67536faa-b167-5499-bcbb-e1459caedba0":{"contextual_description":"DH: Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/a9de72c8-178c-58ba-941a-5861a1995d27":{"contextual_description":"DH:Proposed by the **Khalili Collection**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/366b8bf7-3670-512f-8d5b-1babe480f882":{"contextual_description":"DH: Proposed by the **PEF  \n  \nComment:  \n  \nThis is a cropped albumen print made from an original negative by the American Colony. It may be the same as the picture No. 28 on page 2 in \"1911 Revised and Enlarged Catalogue of Lantern Slides made by the American Colony, Jerusalem...\" (published by Vester & Co., Jerusalem). The picture shows the Baldwin locomotive No. 3 on the right with \"Ramleh\" on a plaque on its side. On the left are three carriages, one with the letters \"J.J\" (i.e. the Jaffa-Jerusalem line) on its side. The Jerusalem train station building can be seen behind the carriages, with a pole on its roof for a flag. Three engineers and one local man can be seen in the picture.\"American Colony, Jerusalem\" appears in the lower right-hand corner. The letter \"s\" in Jerusalem is inverted. Similar inverted letters appeared in another American Colony print (see P 1734). In a band at the bottom of the print: \"Jerusalem Railway Station 325 La Gare\". A partly scratched out plate number \"18\" or 1S\" appears in the lower left-hand corner.**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/242bf7c9-63bb-5b46-8207-61c6522cd2f2":{"contextual_description":"DH: Proposed by the **PEF  \n  \nComment:  \n  \nThis is a loose albumen print made from an original negative by Bonfils. It shows a train at the Jaffa railway station with passengers ready to embark. Jaffa can be seen in the distance.\"Bonfils\" and \"1196 - Arrivee du train a Jaffa\" on the print. From the Finn collection. The track is the original metre-guage track and so the photograph is dated to before 1914, and as everything looks new, probably quite close to the date of construction in 1892. The train seems to consist of one of the Baldwin 2-6-0's locomotives, a couple of vans and two of the bogie carriages - a quite typical train combination. The people in the picture may well have been station employees, posing for the photographer.**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/95a5e12f-a556-5a42-910c-7f61f2672cc3":{"contextual_description":"DH: Proposed by **PEF  \n  \nThis is digital copy made from an original dry gelatine glass negative made by the Zangak brothers. It shows the railway line from Jerusalem with three Ottoman officials standing on the line. Blacked out sky. Black paper margins. Description in yellow ink: \"N 1109 Route de Jerusalem\". Zangaki's signature has clearly been deliberately removed.**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/e514a30b-8c6a-5777-8ed5-09e3fac5083b":{"contextual_description":"DH: Proposed by the *PEF*  \n  \nComment:  \n  \nThis is digital copy made from an original dry gelatine glass negative made by the Zangak brothers. It shows a train crossing a bridge of the railway line from Jaffa to Jerusalem. Black paper margins. Description in yellow ink in the lower right hand corner: \"No 1110 Pont du chemain (sic) de fer de Jerusalem\". The number \"1110\" had been changed from some other number and Zangaki's name had been deliberately removed."},"705dfb0c-00cf-54a9-9f9d-314ae8771258/7043be41-6284-5a6c-86df-d3b34d32326d":{"contextual_description":"DH: Proposed by **PEF  \n  \nThis is a mounted albumen print made from one of 30 negatives taken by G Krikorian between Jaffa and Jerusalem in 1892, which was sent to the PEF by C Schick with a letter dated 27 December 1892 . In pencil on the mount; \"No 2 Jaffa Railway Station.\" The station is situated to the north of the old town, close to the sea.**"},"705dfb0c-00cf-54a9-9f9d-314ae8771258/b3218612-350c-57a4-859f-1b1910edf453":{"contextual_description":"DH: Proposed by the *PEF*  \n  \nComment:  \n  \nThis is a mounted albumen print made from one of 30 negatives taken by G Krikorian between Jaffa and Jerusalem in 1892, which was sent to the PEF by C Schick with a letter dated 27 December 1892 . In pencil on the mount; \"No 1 Jaffa.\""},"705dfb0c-00cf-54a9-9f9d-314ae8771258/e9847ac9-4731-5397-9736-b48e12944c59":{"contextual_description":"DH: Proposed by the *PEF*  \n  \nThis is a mounted albumen print made from one of 30 negatives taken by G Krikorian between Jaffa and Jerusalem in 1892, which was sent to the PEF by C Schick with a letter dated 27 December 1892. In pencil on the mount \"No 4 Railway Station at Ramleh\". Note the surveyors on the right, with spectators lined up along the platform."},"0e141b33-0d0b-5751-95ed-4573ce900317/d024a1e4-fd26-5aae-88e1-997f4d91fed9":{"contextual_description":"The postcard showcases Haifa Station as an imperial asset, framed by Ottoman stamps and crowned with the imperial coat of arms, clearly asserting Ottoman sovereignty over the railway and the wider region of Bilad al-Sham. At the same time, the fact that it was produced by the German printer Ottmar Zieher and incorporates German-made stamp imagery visually encodes the Ottoman–German alliance that underpinned the Hijaz Railway project. This partnership was crucial not only technically and financially, but also politically, as it reinforced Ottoman authority through modern infrastructure.  \nIn this sense, the postcard functions as imperial propaganda: it celebrates modernity, legitimizes Ottoman control, and communicates geopolitical alliances through familiar, widely circulated visual media. It is precisely this fusion of infrastructure, diplomacy, and visual messaging that places the object squarely within Subtheme I."},"0e141b33-0d0b-5751-95ed-4573ce900317/a9de72c8-178c-58ba-941a-5861a1995d27":{"contextual_description":"The enamelled clock face of this pocket watch has an image of a Hijaz-railway engine and the Ottoman coat-of-arms. This was likely to have been made for an Ottoman official involved in the building of the railway."},"0e141b33-0d0b-5751-95ed-4573ce900317/87b9067a-c04e-58ae-a0d2-18f4bf0d3ff1":{"contextual_description":"In 1900 the Ottoman Sultan Abdülhamid II (r.1876–1909) began the construction of a railway line connecting Damascus to the holy cities of Medina and Mecca. Built by public subscription and with an appeal to Muslims of the world for financial support, the railway line began from Damascus and reached Medina in 1908, never reaching Mecca. The financing for the Hijaz Railway was initially meant to come entirely from charitable donations and in May 1900 Sultan Abdülhamid II began the process with a sizeable donation from his personal funds. Despite national and foreign generosity towards the donations campaign, it soon became clear that this alone was insufficient to raise the funds needed for the construction. Therefore, the government sought to raise funds in many other ways, including the commission of postcards amongst other German-made products, in order to generate further yield. With the title ‘Vue du chemin-de-fer Hamidié de Hedjaz’ and with labels in French and Turkish, the postcards depict the construction of the Railway as well as general views and inauguration celebrations. These were available for purchase at local post offices."},"d8a5bd81-c1f8-52db-a349-bb93b84539a5/7e35c5c2-8b03-522b-becd-0672fde170e5":{"contextual_description":"These beautiful and detailed paintings represents the travel for the Hajj in the 18th century; long before the Hijaz Railway was built. It shows the difficult travel that the pilgrims had to pass through, and the long and dangerous roads they had to cross, with the Mahmal, to arrive to the holy sites of Mecca and Medina. These images represent the hajj before the Hijaz Railway, in comparison to the more easy and safe travel that the railway was able to assure. The images depict the big number of servants and guards traveling with the pilgrims, and the horses wearing armour (the last painting), showing the danger of this travel."},"d8a5bd81-c1f8-52db-a349-bb93b84539a5/f668eba1-7efc-5281-8546-48405df526f7":{"contextual_description":"Test"},"744650c8-71c9-5cc3-9dec-e2fece5ed1e5/ecc76730-0597-5bd3-acbc-24a5bf5becc9":{"contextual_description":"This drawing shows Medina before the Railway station and its simple urban structure, before its connection to the Hijaz Railway."},"f9fbfb04-4e15-5b34-8b72-548b41e013c8/06593553-a68a-52be-a275-398de2bbd408":{"image_caption":"Dome of the Rock"},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/f03ce0f1-9194-5983-aa73-d9eb7c7ba616":{"contextual_description":"San Remo Conference, April 1920. In this hall, the voices of colonial powers of the early 20th century were heard, strangers to the land, yet deciding its fate."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/97c5fcf8-a9b1-5067-aa71-6e8ef73de6d5":{"contextual_description":"The San Remo Conference (April 1920) was a post-WWI meeting of the Allied powers that finalized the distribution of former Ottoman territories in the Middle East. It officially assigned the mandates for Palestine and Mesopotamia to Great Britain and for Syria and Lebanon to France."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/35b4865c-3212-5a59-b40c-c71a3c96ba8f":{"contextual_description":"The Sykes–Picot map (1916) illustrated a secret agreement between Britain and France to divide the Ottoman Middle Eastern provinces into zones of direct control and influence, long before the end of World War I. It also serves as a visual representation of the political borders imposed on the region, highlighting their contradiction with the existing demographic realities."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/11a16f48-fdc1-56f9-82a3-46a2ce5cff14":{"contextual_description":"This postcard shows the Hejaz Railway Monument in Damascus, a tall commemorative column erected in 1908 in front of the Hejaz Railway Station to celebrate the completion of the line under Sultan Abdülhamid II. It offers a glimpse of a fragmented recent past for the railway, which was no longer in operation."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/e28239f8-97b8-5b66-9603-5c872c365389":{"contextual_description":"This postcard shows Amman’s Third Circle and the Shmeisani tunnel during a period of rapid modernization. More than a traffic solution, the roundabout became a space for shaping urban identity. At its center stands a monument inscribed with “Allah, Homeland, King,” projecting state ideology into the public realm. The square thus embodies the intersection of modern urban planning and political propaganda, capturing Amman’s evolving face in both social and symbolic terms."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/4f87d34a-7f86-57ab-9f1e-eaf55099a569":{"contextual_description":"Dated 1993, this postcard shows the center of Zarqa, yet the handwritten message tells another story. The sender writes of the uncertain future of the archaeological site of ʿAin Ghazal, threatened by urban construction projects. The postcard thus becomes more than a view of a modernizing city: it is also a witness to the fragile balance between development and the preservation of cultural heritage in Jordan."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/05dae5a3-78f7-504e-8e54-d2fcf93ca27f":{"contextual_description":"For comparison with a new image of Mecca. To talk about the pilgrims coming with airways and busses."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/5d217dae-ff13-5e31-aaf9-e6a813e9af86":{"contextual_description":"This Iraqi ½ dinar banknote, issued in 1945 (AH 1364) by Bradbury Wilkinson & Co. in England, features ornate Arabic calligraphy at the center and a portrait of the young King Faisal II on the right. Produced little more than a decade after Iraq’s independence in 1932, it symbolizes both the consolidation of the Hashemite monarchy and the emergence of national identity through state currency."},"e23386c4-18a5-5c2e-a397-0d21a1c3d559/d6dccb69-b7ef-5a1f-ae01-9ece10a49b3a":{"contextual_description":"Five Dinars, Central Bank of Jordan  \nIssued after Jordan’s independence in 1946, this note features the Treasury of Petra, the ancient Nabataean monument carved into the red cliffs of southern Jordan. By placing Petra at the center of its national currency, the Hashemite Kingdom presented archaeology as a symbol of modern identity and continuity with a glorious past. Similar to banknotes elsewhere, such as Turkish bills depicting Ephesus, heritage became a visual language of nation-building and cultural pride."},"47693e45-d390-5d8b-b761-f610b3fab532/b6b2ec92-9929-52b7-b958-6f11056083d3":{"contextual_description":"Horses and camels were the traditional means of travel for nomadic and seminomadic groups in the Hijaz and Levant for generations. While the Hijaz railway meant to industrialize the pilgrim travel from Damascus to Medina, quadrupeds remained an essential part of the pilgrimage route as well as vital resources for the construction of the railroad itself. While the railway served as a mechanized replacement for their labour, horses and camels remained vital to the path of the railway before, during, and after its construction."},"47693e45-d390-5d8b-b761-f610b3fab532/933939d4-8ce7-5b98-8703-66fd41e9ff19":{"contextual_description":"Horses and camels were the traditional means of travel for nomadic and seminomadic groups in the Hijaz and Levant for generations. While the Hijaz railway meant to industrialize the pilgrim travel from Damascus to Medina, quadrupeds remained an essential part of the pilgrimage route as well as vital resources for the construction of the railroad itself. While the railway served as a mechanized replacement for their labour, horses and camels remained vital to the path of the railway before, during, and after its construction."},"47693e45-d390-5d8b-b761-f610b3fab532/594159db-22bb-5d9a-b5d6-ebadcc2ba264":{"contextual_description":"This advertisement for the Nairn Transport Company, founded in the 1920s, promotes its six-wheeled Pullman buses crossing the desert between Damascus and Baghdad. With timetables linking Haifa, Beirut, and Iraq, the service carried both mail and passengers. More than transport, it symbolized modern mobility under the Mandate system, replacing older caravan and railway routes while reflecting new borders and colonial influence in the Middle East."},"47693e45-d390-5d8b-b761-f610b3fab532/ab468403-bb08-5ef9-8471-cb6b5639090b":{"contextual_description":"Opened in the early 1960s, the Hurriyeh (Liberty) Bridge was a key project in Baghdad’s urban expansion. Its simple beam structure connected the two banks of the Tigris, reflecting the city’s modernist ambitions and the rise of motor traffic. The postcard view, with buses, cars, and pedestrians, captures a vivid moment of everyday life in a rapidly changing capital. Still standing today, the bridge remains an enduring landmark in Baghdad’s urban memory."},"47693e45-d390-5d8b-b761-f610b3fab532/3feeb5b2-0d08-50bd-8721-06e5029eb142":{"contextual_description":"This 1930s Air Orient poster highlights the French airline’s east–west routes across the Middle East. From Beirut and Damascus to Baghdad and Basra, the service carried passengers and mail between Paris and the Levant. Produced in a republican France that was also a vast colonial empire, the poster embodies both the allure of modern aviation and the projection of French influence through new networks of mobility."},"47693e45-d390-5d8b-b761-f610b3fab532/bc1578cd-e971-5aa1-b3e5-48f36b173182":{"contextual_description":"Rutbah Wells, once a desert stop for caravans, became vital to early aviation when aircraft could not yet cover long distances without refuelling. Its wells and facilities made it a lifeline for planes crossing between Amman and Baghdad. Here, technological limits met the desert’s scarcity, turning an ancient caravan halt into a modern hub of mobility."},"47693e45-d390-5d8b-b761-f610b3fab532/82b239a9-346c-5fe0-a79c-06e65a9f79af":{"contextual_description":"This 1950s postcard shows the control tower of Basra Airport with the Iraqi flag flying above. At the time, air travel was celebrated as a symbol of modernization. Expanded in the 1960s with new runways and terminals, the airport connected southern Iraq to regional and international networks. The image reflects how aviation shaped Basra's urban identity and embodied the country’s modern aspirations."},"47693e45-d390-5d8b-b761-f610b3fab532/f11d2280-cc29-5b03-8ca0-d04445dc820c":{"contextual_description":"Using a map in a postcard made to promote tourism may seem natural. Yet this example, printed in the mid-1970s, highlights not the routes linking cities but the oil pipelines cutting across the country from east to west toward the Mediterranean. At a time of global oil crisis, such imagery not only framed Syria as a tourist destination but also underscored its strategic importance within the geopolitics of energy."},"2d07bb0f-b16e-53ad-b710-eb9840a46d50/ccfa35a6-3047-59d8-ad5b-c712b106b300":{"contextual_description":"“And Then The Birds Flew Over” not only reveals the resilience of nature but also offers a powerful metaphor for the social crises of the Middle East. Soil and water generate new life beyond human-made borders and authoritarian control. This mirrors the struggles of people and ecosystems to endure despite wars, displacement, and political oppression. From a posthuman perspective, the work rejects the idea of absolute human control, reminding us that the region’s destiny is shaped not only by political decisions but also by the resilience of soil, plants, water, and all living beings acting together."},"2d07bb0f-b16e-53ad-b710-eb9840a46d50/35785418-9561-5272-b79a-b409fed49fb6":{"contextual_description":"This work by Abdullah Hamas, a Palestinian painter, expresses the urban interconnectedness between the holy cities of Jerusalem, Medina, and Mecca. In tying these sacred geographies together along a diagonal axis, Hamas recreates the intwined nature of those holy cities and movement between them as expressed in the original purpose of the Hijaz Railway. The axis, in this sense, reconstitutes a new imagined railway connected centers of urban sacrality in the Hijaz and Levant."},"2d07bb0f-b16e-53ad-b710-eb9840a46d50/6350e971-0ce0-5106-af5e-d863b242e132":{"contextual_description":"This passport for a Jordanian citizen expresses the new norms for international travel that developed after the fall of the Ottoman Empire and the rise of Middle Eastern nation-states. Travel documentation such as this provided new pathways and rights for international travellers to do things like go on pilgrimage, yet became a privilege not guaranteed to citizens of states."},"2d07bb0f-b16e-53ad-b710-eb9840a46d50/b3e36469-70fd-57ff-915e-b3249206bed0":{"contextual_description":"This Hajj registration card providing legitimacy to a Palestinian pilgrim's travel to Mecca from 2007 intends to show the continued importance of pilgrimage, the new boundaries and permits required due to the existing nation-state boundaries, and the modern method of making Hajj to Hijaz for those living outside of Saudi Arabia."},"2d07bb0f-b16e-53ad-b710-eb9840a46d50/1ad57cfa-a912-59ee-8bea-49d8d07f0422":{"contextual_description":"Hajj banknotes were produced by both Pakistan and India after independence in 1947. This note bears the signature of H.V.R Iyengar (Governor, Reserve Bank of India).  \nThese notes were not legal tender in India but could be converted at Bombay into Indian rupees or Pound Sterling. They were used as a means of controlling the export of Indian rupees via Saudi Arabia during the Hajj season."},"6280d933-7ffb-55c2-a9be-5c21ba618ad6/17c4b3b7-0a16-5fdf-b4e2-121ac25e4ca9":{"contextual_description":"The Egyptian state established a radio service in 1934. The new medium was powerful and it played a key role in Egyptian politics, such as the announcement of the abdication of the monarchy in 1952. The Nasser regime expanded the role of radio programming for political, entertainment and educational purposes. In a country with high rates of illiteracy, audio was essential for the circulation of news, propaganda and to reach the masses. The state company Telemisr manufactured this radio model to make the device available to a wider audience."},"6280d933-7ffb-55c2-a9be-5c21ba618ad6/15a84328-f078-507a-ab38-c5bef1a66368":{"contextual_description":"Example of a Jordan station in Saudi which is currently a tourist site."}}