@museumwnf/the-table-is-set-data 1.0.1

package/items.json

@@ -0,0 +1 @@
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Four of the men on the top of the painting are also riding on horses, while the men directly next to the ruler are accompanying him by foot. The men are making their way through a field of colourful flowers and plants. Dorothea Duda points out that the way in which the ruler has been depicted bears a strong resemblance to known portraits of Sultan Selim I., which gives credence to the theory that this binding was manufactured within the Ottoman empire."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1d1573e2-4d65-5969-9e37-21bbaddc8631.jpg","display_order":2,"alt_text":null,"captions":{"ar":"يعلى الغلاف الخلفي للتجليد نشاهد احتفالًا بلاطيًا. وفي وسط المشهد يجلس حاكم، تشير دوروثيا دودا مرة أخرى إلى أنه قد يكون تصويرًا آخر للسلطان سليم الأول، على عرشه الذهبي. ويحيط به عدد من الرجال يُرجَّح أنهم من أفراد بلاطه. ويجري هذا الاحتفال في فضاء خارجي مشابه للمشهد المصوَّر على الغلاف الأمامي للتجليد.","en":"On the back of the binding we see a courtly festivity taking place. In the centre of the scene a ruler, who Duda once again suggests could be another portrait of Sultan Selim I, sits upon his golden throne. He is surrounded by groups of men who are most likely members of his court. The festivity is taking place in an outdoor setting similar to the one on the front cover of the binding."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2c39c358-57c9-522f-ba7a-25f39b9ecbbf.jpg","display_order":3,"alt_text":null,"captions":{"ar":"يُفتتح هذا الديوان بصفحة افتتاحية تمتد على صفحتين، تُصوِّر مشهد صيد نابضًا بالحركة لشبّان يمتطون الخيل، يرافقهم خدمهم سيرًا على الأقدام. في الصفحة 1b يظهر رجلان مع خدمهما في رحلة صيد داخل مرج أخضر، تعلوه الجبال في الخلفية. ويقفز حصان الشخصية المركزية في لحظة ديناميكية، بينما يقوم فارسه في الوقت نفسه بقتل غزال بسيفه. ويرتدي كلا الرجلين عمائم وملابس مزخرفة بدقة. أمّا الرجل الثاني، فيتميّز بلحية واضحة تشبّهها دوروثيا دودا بلحية السلطان سليمان القانوني. وتشير إضافة هذا البورتريه إلى احتمال أن تكون المخطوطة قد أُنجزت خلال فترة حكم السلطان سليم الأول.","en":"This *divan* opens with a frontispiece spanning over two pages, depicting an energetic hunting scene with young men riding horses accompanied by their walking servants.  \nOn fol. 1b two men and their servants are on a hunt in a green meadow, behind which mountains loom. The horse of the central figure is making a leap whilst simultaneously its rider is slaying a gazelle with his sword. Both of the men are wearing turbans and intricately decorated clothing. The second man has a distinct beard that Dorothea Duda likens to the one Sultan Suleiman the Magnificent had. The inclusion of such a portrait indicates that the manuscript could have been finished during the reign of Sultan Selim I."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e676a631-e259-596e-8fa4-8cc3cc628710.jpg","display_order":4,"alt_text":null,"captions":{"ar":"يعكس مشهد الصيد في الصفحة 2a المشهدَ المصوَّر في الصفحة 1b. يظهر رجلان يمتطيان الخيل في خضمّ الصيد ضمن منظر طبيعي مشابه لذلك الظاهر في الصفحة المقابلة. ويمدّ الرجل الواقع في وسط الصفحة أحد ذراعيه، وقد حطّ صقر عليها، بينما يكون الرجل الثاني في لحظة إطلاق سهم. ويواجه الرجال الأربعة مع خدمهم الأربعة، الموزَّعين على الصفحتين، بعضهم بعضًا. وعند النظر إلى الصفحتين معًا، يبدو وكأن الرجال على وشك الاصطدام ببعضهم البعض بعد لحظات قليلة. وتُؤطَّر كلتا الصفحتين بإطارات مذهَّبة مزخرفة بزخارف نباتية دقيقة وميداليات زرقاء داكنة.","en":"The hunting scene on fol. 2a mirrors the one on fol. 1b. Two men on horses are in the midst of hunting in a similar landscape as the men on the opposite page. The man in the middle of the page has one arm stretched out with a falcon sitting on it. The second man is in the process of shooting an arrow.  \nThe total of four men and four servants across the two pages are facing each other. If the two pages are looked at together it seems as though the men are only moments away from colliding with one another.  \nBoth pages are framed by golden borders with intricate floral decoration and deep blue medaillons."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9a93ef13-6598-51da-9e3e-d936a4e4c157.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 18a يُقام احتفال داخل حديقة. وفي الوسط يجلس أمير شاب يرتدي ملابس برتقالية زاهية على بساط، محاطًا بأفراد بلاطه وخدم يقدّمون له الطعام والشراب. وفي أسفل المنمنمة يظهر أربعة موسيقيين يعزفون على آلاتهم. يجلس الأمير وحاشيته على مرج أخضر داكن مغطّى بالأزهار. وفي خلفية المشهد تنتصب شجرتا سرو طويلتان إلى جانب شجرتين مزهرتين، تتشابك أغصانهما فيما بينهما. وتبرز الألوان الزاهية للأشجار وأزهارها وملابس أفراد البلاط في تباين واضح مع السماء المذهّبة. وتُؤطَّر المنمنمة بهوامش مزخرفة تضم حيوانات خيالية تتجوّل في مناظر طبيعية مليئة بالأزهار والأشجار، وقد نُفِّذت هذه المشاهد باستخدام اللون الذهبي فقط.","en":"On fol. 18a there is a festivity being held in a garden. 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09","start_date":1950,"end_date":2024,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/b6fb1e72-4c8d-5914-a370-e67f61388bad.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Museum for Islamic Art, Berlin"}],"tag_ids":["49c97d12-bf9d-52c1-8b09-8b49ec67a0a4","3bf995b1-ed8f-54b3-84cf-dd4c771b669b"],"dynasty_ids":[],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa"],"artist_names":["Anne-Marie Bianquis"],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"}],"languages":["en"]},{"id":"893a0815-f9f4-52c7-8775-ffe7b752a7e5","type":"object","internal_name":"al-Ghuta ash-Sharqiyya","backward_compatibility":"mwnf3:objects:EXTHE:de:Mus71:7","project_id":"09bed55d-efe6-50e0-8c24-1647bc9822eb","partner_id":"f441f494-4ff4-5fa6-a2ff-1f6f59c24cd8","country_id":"deu","owner_reference":"bi-n_04_14_16_SYRHER","mwnf_reference":"EXTHE16 07","start_date":1950,"end_date":2024,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/95ce56e5-ffec-5045-b929-aeb0eb21aabc.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Museum for Islamic Art, Berlin"}],"tag_ids":["49c97d12-bf9d-52c1-8b09-8b49ec67a0a4","3bf995b1-ed8f-54b3-84cf-dd4c771b669b"],"dynasty_ids":[],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa"],"artist_names":["Anne-Marie Bianquis"],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"}],"languages":["en"]},{"id":"ca7afc73-93f0-57b7-bf5b-affec7602629","type":"object","internal_name":"al-Ghuta ash-Sharqiyya","backward_compatibility":"mwnf3:objects:EXTHE:de:Mus71:8","project_id":"09bed55d-efe6-50e0-8c24-1647bc9822eb","partner_id":"f441f494-4ff4-5fa6-a2ff-1f6f59c24cd8","country_id":"deu","owner_reference":"bi-n_04_14_34_SYRHER","mwnf_reference":"EXTHE16 08","start_date":1950,"end_date":2024,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/9226fb10-77ec-5132-a7bc-ce63fa3528e4.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Museum for Islamic Art, Berlin"}],"tag_ids":["49c97d12-bf9d-52c1-8b09-8b49ec67a0a4","3bf995b1-ed8f-54b3-84cf-dd4c771b669b"],"dynasty_ids":[],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa"],"artist_names":["Anne-Marie Bianquis"],"media":[],"related_items":[],"gallery_references":[],"languages":["en"]},{"id":"6cd1576c-84dc-565e-8f5b-d3d3ed636ea8","type":"object","internal_name":"Al-Hariri, *Maqamat* ('Assemblies')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:27","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 9","mwnf_reference":"AT4 27","start_date":1309,"end_date":1359,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/db537b4e-4443-5ea7-83d1-7c4d26618410.jpg","display_order":1,"alt_text":null,"captions":{"ar":"الصفحة 1a يتصدرها صورة رئيسية على شكل مربع، محاطة من جوانبها الثلاث بإطار زخرفي. يتألف الإطار من خط متموج منحني خطيًا مكون من أرابيسك ذهبي بحدود خارجية مشرشرة وتصاميم مزهرة بيضاء على خلفية زرقاء. تتقاطع هذه الأجزاء لتشكل شكلًا بيضوياً مدببًا بالون الأحمر على شكل برعم اللوتس في الوسط. الشكل الثلاثي الأضلاع قد يشير إلى أن صورة الإهداء كانت أصلاً جزءًا من صفحة واجهة مزدوجة. يعتمد الرسم على نماذج أقدم من العصر السلجوقي، ما يعرف بمدرسة الموصل، والصور التي تمثل الشخصيات والأشكال على الفخار. وفي هذه الصورة التشخيصية، يظهر الحاكم متوجا في وسط التكوين المتناظر على أرضية ذهبية. يجلس الحاكم عاقدًا ساقيه ويحمل كأس شراب- وهي سيمة مرتبطة بجلسات الشراب- ويحمل  أيضًا منديلًا، دلالة على مكانته كشخص متعلم رفيع المستوى. يوجد شخصان مجنحان يحملان شريط التكريم فوق رأسيهما، وتقفتهما العريضة توحي أنهما رسمًا في منتصف الحركة. أسفلهما توجد مجموعتان، في كل منهما ثلاثة  أشخاص، يحيطون بالحاكم من جميع الاتجاهات، يجلسون على أرائك حاملي الأقداح  أو يعزفون على الآلات الموسيقية مثل الناي والعود. أمام الحاكم مباشرة، يوجد بهلوان مقوس الظهر فوق وعاء ذهبي كبير. تمثل هذه الشخصيات المرافقة للحاكم الراقصين والموسيقيين والمحتفين، ما يوضح هناء و رخاء حياة البلاط. جميع الاشخاص لديهم وجوه مستديرة بلا لحى، وأعين على شكل لوزة، وغالبًا يظهرون في وضعية جانبية بحيث تُرى ثلاثة أرباع أجسادهم, مفعمون بالشباب، وذوو شعر طويل أسود أو بني محمر. تُزين أثوابهم بالأنماط الهندسية والزهور، وعصابات على أعلى الأذرع ، مما يوحي بأنهم أشخاص يتمتعون بمناصب رفيعة. الزخارف التي تزين ثوب الحاكم تحتوي على كتابة غير مقروءة. من المحتمل أن تكون هذه المنمنمة إهداء لتجسيد جلالة السلطان، الذي ربما أمر بإعداد هذه المخطوطة، وهو ناصر محمد بن قلاوون، الذي حكم للمرة الثالثة من 709 هجري / 1309 -1310 ميلادي إلى 741 هجري / 1340 -1341 ميلادي.","en":"On fol. 1a, the dedication frontispiece is shown in a square format, surrounded on three sides by an ornamental border. It consists of a curvilinear wavy vine formed of golden arabesques with a serrated outline, and white floral designs on a blue background in-between. Its intersecting parts form a red-coloured pointed oval with a lotus bud motif in the centre. The three-sided format may offer a clue that the dedication image was originally a double-page frontispiece. The painting is based on older models from the Seljuk period, the so-called ‘School of Mosul’ and figurative images on pottery. In this representational image, a ruler is shown enthroned in the centre of the symmetrical composition on a golden ground. He is sitting cross-legged and holds a drinking cup – an aspect of rulership associated with drinking ceremonies – as well as a handkerchief (*mandil*), the latter belonging to the equipment of a distinguished educated man. Two winged figures hold a ribbon of glory over his head, their wide stance suggesting that they are captured in mid-flight. Beneath them, two groups of three figures each occupy either side of the ruler, sitting on cushions and holding drinking vessels or playing instruments such as a type of flute as well as a lute. Immediately before the ruler is an acrobat in a back arch over a large golden bowl. These accompanying figures of the ruler – dancers, musicians, revellers – reveal the pleasures of refined courtly life. They have round faces with almond-shaped eyes mostly presented in three-quarter view, and they are depicted in a youthful, beardless manner with long black or reddish-brown hair. Their robes, finely decorated with geometric and floral patterns, have so-called *tiraz* bands on the upper arms, usually bestowed upon high-ranking individuals. The ones on the ruler’s robe show illegible, stylised writing. As a potential dedicatory image, it may pay homage to the sultan who possibly commissioned the manuscript, namely An-Nasir Muhammad b. Qala'un, who was in power for the third time from 709 AH / 1309-10 AD to 741 AH / 1340-41 AD."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/063641a8-42d4-53af-9e23-17cd8b2d5d21.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تعرض الصفحة 8b المقامة الثانية: أبو زيد في مكتبة البصرة,حيث ظهرت ضمن تكوين قريب من المربع، على خلفية ذهبية في القسم السفلي من الصفحة. يجسد الرسم لحظة  حيوية يتعرف فيها الراوي الحارث بن همّام البصري على أبي زيد من خلال ومضاته الإلهامية، إذ يخاطبه وينفصل عن الجمع من حوله. إلا أن عناصر الخلفية لا تتوافق تمامًا مع فضاء المكتبة الذي يفترض أن تدور فيه الواقعة، حيث نرى في الأعلى فرخ بط أزرق يطير، وشجرة سرو تميل مع حركة الريح، فضلًا عن غصنين مزهرين يحيطان بالمشهد من الجانبين. في أقصى اليسار  يظهر أبو زيد ذو اللحية الشيباء، مرتديًا ثوبًا أسود عليه أشكال من حوالق الأرابيسك الصفراء، ويقف مشيرًا الى الأرض. وفي مقابله، يظهر الحارث مرتديًا ثوبًا أحمر، ويداه مرفوعتان بنشاط وحماس. الجمع الكبير ممثل بثلاثة رجال يجلسون معًا، ويرمزون للأعمار و الأعراق المختلفة. يظهر الشاب الظاهر خلفهم برسم جانبي كامل، أما الرجلان الآخران فيرى منهما ثلاثة أرباع الجسد، ويرتديان أثوابًا مزينة بزخارف هندسية ونباتية.","en":"Fol. 8b shows the second *Maqama*: Abu Zayd in the library of Basra, depicted in an almost square format before a gold background in the lower half of the page. The painting vividly depicts the moment when the narrator al-Harith b. Hammam al-Basri recognises Abu Zayd by his flashes of inspiration and, addressing him, detaches himself from the crowd. However, the background is not compatible with the location of a library where the encounter originally took place, as a flying blue duck, a cypress bending in the wind, and two flanking palmette flowers are present. On the far left, the grey-bearded Abu Zayd in a black dress patterned with yellow arabesque tendrils is standing, pointing to the ground. Opposite him, clad in red and with hands raised vividly, is al-Harith. The large crowd is represented by three men sitting close together, symbolising the various ages and types, and a youthful figure in profile behind them. The others are shown in three-quarter view and clad in elaborately patterned robes with geometric and floral decorations."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9b7b3edb-fb32-5eed-85f5-d09d30690a29.jpg","display_order":3,"alt_text":null,"captions":{"ar":"في الصفحة 15b تعرض المقامة الرابعة، تُظهر أبو زيد وابنه ضمن إطار مستطيل على خلفية ذهبية تغطي النصف العلوي من الصفحة. يروي الحارث ابن همام البصري كيف سمع حديثًا مليئاً بالحكمة بين أبو زيد وابنه أثناء الفجر. يظهر رجل ذو لحية رمادية وشاب في مواجه بعضهما البعض، الأول مرتديًا اللون الأزرق والثاني مرتديًا اللون الأصفر الفاتح. أثوابهم مزينة بزخارف فاخرة ومذهّبة، ويرتدي كل منهما عمائم فاخرة. يظهرون وهم يرفعون أيديهم مع أصابع السبابة أثناء حديثهم. القمر الهلالي الأزرق فوق أبو زيد يشير إلى الوقت المبكر من اليوم. كما يشير المشهد الخارجي إلى المناظر الطبيعية من خلال طيور متعددة تحلق في السماء أو تجلس على النباتات المزهرة، بالإضافة إلى خط أرضي عشبي ومسطح مائي. تتجلى مكانة أبو زيد النبيلة في المنديل الذي يحمله بيده اليمنى، المنقوش على الخلفية المذهبة، لكنه يبقى غير مكتمل.","en":"On fol. 15b, Abu Zayd and his son are depicted, representing the fourth *Maqama* in rectangular format before a gold background in the upper half of the page. Al-Harith b. Hammam al-Basri relates how he overheard a conversation full of wisdom between Abu Zayd and his son at dawn. Standing, facing each other, are a grey-bearded man and a youth, the former dressed in blue and the latter in light ochre. Their robes are richly decorated and gilded, and the two figures don elaborate turbans. Their hands are raised and their index fingers lifted in conversation. A blue crescent moon above Abu Zayd indicates the early time of day. An exterior landscape is suggested by multiple birds, flying in the sky and perched on the flowery plants, by a grassy ground line and the water. Abu Zayd’s nobility is expressed by a cloth (*mandil*) in his right hand; it is carved into the gold background but remains incomplete."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/17b79b75-b046-5937-ad11-98db89397f79.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في النصف العلوي من  الصفحة 30b يظهر تكوين مستطيل على خلفية ذهبية، يظهر فيها القاضي مواجهًا أبو زيد وابنه مره أخرى في المقامة الثامنة. يشعر القاضي بأنه قد خُدع من قبل الاثنين، ولكنه يسمح لهما بالتمثيل أمامه مرة أخرى. يعترف أبو زيد بهويته، ثم يُصرف القاضي بعد أن يُنصَح بنصيحة حسنة. يظهر القاضي على اليسار مرتديًا ثوبًا أحمر وفوقه عباءة بيضاء، جالسًا متربعًا على الأرض ورافعًا سبابته نحو الأشخاص المقربين منه. أمامه، يظهر أبو زيد منحنيًا بخضوع مبالغ فيه، حافي القدمين، مرتديًا ثوبًا واسعًا فضفاضًا، مشيرًا  إلى القاضي في حديث شيق. خلفه يقف ابنه، وكذلك رجل ملتحٍ يرتدي لباسًا أزرق، يُعرف على الأرجح بأنه الراوي الحارث بن همام البصري. فوق أبو زيد تتدلى ستارة معقودة بزخارف أرابيسك ذهبية متدلية للأسفل، لتشكل عنصرًا بارزًا ومهيمنًا في تكوين اللوحة.","en":"In a rectangular format before a gold background in the upper half of the page, fol. 30b shows the judge having Abu Zayd and his son brought back to him in the eighth *Maqama*. The judge, feeling fooled by the two, lets them come before him again. Abu Zayd confesses who he is, and he is dismissed with good admonitions. The judge, depicted on the left, is clad in red robes underneath a white cloak and sitting cross-legged on the ground, raising his index fingers to the approaching figures. In front of him, in an exaggeratedly submissive bow, Abu Zayd is shown barefoot in a wide sweeping robe, gesturing to the judge in lively conversation. Behind him are his son as well as a bearded man dressed in blue, who can be identified as the narrator al-Harith b. Hammam al-Basri. Above Abu Zayd, a knotted curtain with dynamically unfolding golden arabesque tendrils is hanging down as a particularly dominant element of the composition."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f57f4698-9076-589a-964b-2e83426f391b.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 42b، يراقب الحارث بن همام البصري أبو زيد في الحانة (المقامة الثانية عشرة)، حيث يظهر المشهد في النصف السفلي من الصفحة ضمن تكوين مستطيل على أرضية ذهبية. ينضم الحارث إلى مجموعة من المسافرين الذين ينوون الانتقال من سوريا إلى العراق، لكنهم يفتقرون إلى دليل يعرف الطريق. صادفوا رجلًا رث الثياب يدّعي أنه سيقودهم إلى وجهتهم بسلام. في النهاية، يقود الرجل الركب عبر الصحراء وهو يردد دعاء طويل، وعندما وصلوا إلى مقصدهم، اختفى الرجل التقي بعد أن تم مكافأته بسخاء. ومع ذلك، يشتاق الحارث إلى صحبته، فيبحث عنه ليجده بدهشة في الحانة. ينشد الدليل ضاحكًا أغنية عن الخمر، كاشفًا عن نفسه بأنه أبو زيد. الجزء الداخلي للحانة يظهر ستائر مجمعة على الجانبين، وزجاجات وكؤوس مرتبة على صينية في الوسط بشكل متناظر. تتمثل النقطة المحورية في الرسم على الشاب الجالس في الوسط مرتديًا ثوبًا رائعًا باللونين الأزرق والفيروزي، يمسك قدح الخمر بيمينه ويمسك بذقن عازف العود بيسراه. ترتدي المرأة الموسيقية ثوبًا أحمر وأخضر مع وشاح شفاف موضوع فوق قلنسوة زرقاء، ينسدل على أكتافها دون أن يغطي وجهها، مثبتًا بعصابة رأس طويلة باللون الفيروزي مربوطة على الجانب. بين الشخصين يظهر رأس شاب آخر، والثلاثة يمتلكون شامات سوداء على وجوههم. في أقصى اليسار يظهر أبو زيد بشكل جانبي مرتديًا ثوبًا أسود مزخرفًا بأرابيسك صفراء، برفقة رجل يرتدي الأحمر، وهو يمسك كأس الخمر ومنديلًا أبيض. في أقصى اليمين، يظهر رأس الحارث الذي يستمع بتقزز إلى أحاديث السكارى، مدعيًا أنه يشرب معهم.","en":"Al-Harith b. Hammam al-Basri observes Abu Zayd in the tavern (twelfth *Maqama*) on fol. 42b, in a rectangular format before a gold background in the lower half of the page. Al-Harith joins a travelling party that wants to go from Syria to Iraq. However, they do not have a guide who knows the way. They come across a poorly dressed man who claims that he will guide them safely to their destination. As the man finally leads them through the desert, he recites a long prayer. When they reach their destination, the pious man disappears, having been richly rewarded. But Al-Harith longs for his company, looks for him, and eventually finds him, to his horror, in the tavern. There the guide laughingly recites a wine song and reveals himself to be Abu Zayd. The interior is represented with curtains gathered at the sides and symmetrically distributed bottles and cups on a tray in the centre. The focal point of the painting is a young man sitting in the middle, splendidly dressed in blue and turquoise, holding a wine goblet in his right hand, and grasping the chin of the lute player with his left hand. The female musician is dressed in red and green robes and wears a delicate, transparent veil over a blue cap, which falls over her shoulders and does not cover her face. It is held in place by a long turquoise headband tied at the side. Between the two figures is the head of another youth, and all three have black beauty marks on their faces. On the far left in a black robe patterned with yellow arabesques, shown in profile and in the company of a man dressed in red is Abu Zayd. He holds a wine cup and a white cloth (*mandil*). On the far right, the head of al-Harith is shown, who listens with disgust to the alleged drinking excesses."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1a18ac66-a129-5984-a7e2-65c7babe3f5c.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة 48a، يظهر الراوي الحارث بن همام البصري مستريحاً برفقة أصدقائه في حرارة منتصف النهار، بينما يظهر أبو زيد متسولاً (المقامة الرابعة عشر)، ضمن إطار مستطيل على خلفية ذهبية في النصف العلوي من الصفحة. الحارث يعود من الحج وهو يستريح مع أصدقائه في خيمته المصنوعة من الجلد، حين يتوسل إليهم أبو زيد وابنه طالبين الطعام، مقدمين كلاماً مقنعاً ومفصلاً. يظهر الجزء العلوي من الصفحة، المكون على شكل قطعة دائرية، ليشير إلى سماء زرقاء، بينما تعكس النباتات المزهوة في الخلفية المشهد الطبيعي المحيط. تظهر رؤوس جملين وحصان مع كيس علف خلف خيمة مخروطية الشكل. عند مدخل الخيمة، يجلس أربعة أشخاص: في المقدمة يظهر الحارث مرتدياً ثوبًا تركوازياً زاهياً ورافعًا يده أثناء الحديث. وعلى اليمين يقترب أبو زيد مرتدياً ثوبًا أزرق وابنه مرتديًا ثوبًا أخضر.","en":"On fol. 48a, the narrator al-Harith b. Hammam al-Basri is shown resting with friends in the midday heat and Abu Zayd is depicted begging (14th *Maqama*), in a rectangular format before a gold background in the upper half of the page. Al-Harith is returning from the pilgrimage and rests with friends in his leather tent when Abu Zayd and his son beg them for food and mount with a persuasive, well-articulated speech. The blue sky is indicated by a segment of a circle at the top; the landscape is reflected by flowery plants in the background. The heads of two camels and a horse with a feeding bag are visible behind the conical tent. Crowding at its entrance are four squatting people: at the front in bright turquoise robes is al-Harith, raising his hand in conversation. On the right, Abu Zayd in a blue robe and his son in a green robe, are approaching."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/7e719cf6-71ed-50df-ae86-ad18338c640b.jpg","display_order":7,"alt_text":null,"captions":{"ar":"في الصفحة 64b,  تصور زيارة الأصدقاء لأبو زيد (المقامة التاسعة عشر)، ضمن إطار مستطيل على خلفية ذهبية في النصف السفلي من الصفحة. على الرغم من ادعائه المرض، يُثبت أبو زيد أنه مضيف مرح يبقي أصدقائه معه طوال اليوم ويسليهم بسخاء في المساء. على سرير خشبي محفور ومخزرف بعناية، يرقد أبو زيد المريض في وضعية متصلبة، ورأسه في وضع جانبي مرتدياً ثوباً فيروزيًا وعمامة بيضاء. عند رأس السرير يقف ابنه مرتديًا ثوبًا أصفر. في الوسط خلف السرير يظهر الراوي الحارث بن همام البصري مرتديًا ملابس سوداء مزخرفة بلفائف نباتية دقيقة باللون الأصفر، وعلى اليمين يقف رجلان يرتديان أثوابًا حمراء وزرقاء. الشخصيات الواقفة تظهر إشارات حيوية أما الرجل المرتدي اللباس الأحمر يميل رأسه بأسى. صمُم الجزء الداخلي من اللوحة بزخارف زرقاء في الزوايا العلوية، مع قبتين مدببتين مقسومتين إلى نصفين على الجانبين، وقبة مسطحة باللون الفيروزي في المنتصف تبرز فوق حافة الرسم.","en":"Fol. 64b depicts the visit of the friends to Abu Zayd (19th *Maqama*) in a rectangular format before a gold background in the lower half of the page. Abu Zayd proves to be a cheerful host despite his alleged ill state, keeping his visiting friends with him all day and entertaining them lavishly in the evening. On an elaborately carved and decorated wooden bed lies the sick Abu Zayd in a stiff position, his head in profile and wearing a turquoise robe and white turban. At the head of the bed stands his son clad in ochre robes. Behind the bed, in the centre, is al-Harith b. Hammam al-Basri, the narrator, in black clothes patterned with elaborate vegetal scrolls in yellow. On the right are two men in red and blue robes. The standing figures gesture vividly; only the red-clad man has his head pitifully inclined. The interior is represented by blue spandrels in the top corners, two halved pointed domes on the sides, and a turquoise-coloured flat dome in the centre, projecting over the edge of the painting."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d6eeb621-c0a4-5987-b58c-99bde66d859f.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 126a,  يصور مشهد احتفالي في شكل مستطيل على خلفية ذهبية في النصف العلوي من الصفحة. يلتقي الراوي الحارث بن همام البصري بمجموعة من الناس في الطريق الذين يحملون جرار الخمر ويستعدون للراحة. ينضم إليهم ويدرك من بينهم أشخاص متعلمين. فجأة، يصل أبو زيد إلى التجمع الصغير، ويبهج الجميع ببراعته في تلاعب الألفاظ (المقامة السادسة والثلاثون). تظهر مجموعة من خمسة أشخاص يحملون زجاجات الخمر، بعضهم يرفعها أو يشرب منها. في الوسط، يظهر أبو زيد مرتديًا ثوبًا فيروزيًا مزخرفًا بنقوش دقيقة، ورأسه منحنٍ في تأمل عميق. بجانبه شخصية شابة وآخر ملتحٍ. في أقصى اليسار يظهر الحارث مرتديًا ثوبًا أزرق، وهو يشرب من كأسه، بينما في أقصى اليمين يظهر الشخص الوحيد ذو البشرة الداكنة، مرتديًا ثوبًا قصيرًا أسود مزخرف بأرابيسك أصفر مع قطعة حزام بيضاء متطايرة. في الخلفية، فوق الشخصيات، يظهر وعاء كبير يحتوي على أوراق خضراء كثيفة وزجاجة خمر وكأسين. وتشير الزخارف الركنية في الزوايا العلوية إلى أن المشهد يدور في مكان داخلي.","en":"On fol. 126a, a scene of revelry is depicted in a rectangular format before a gold background on the upper half of the page. The narrator al-Harith b. Hammam al-Basri meets a group of people on the way who have loaded wineskins and are preparing to rest. He joins them and realises that among them are very educated people. Suddenly, Abu Zayd arrives at the small gathering and delights them with lively wordplays (36th *Maqama*). The crowded group of five people hold wine glasses, which they are raising or drinking from. In the centre, Abu Zayd is depicted in a finely patterned turquoise robe, with his head lowered pensively. A youthful figure and a bearded man flank him. On the far left, al-Harith, clad in blue, is drinking from his glass. On the far right is the only standing figure with darker skin and wearing a short black robe patterned with yellow arabesques and a fluttering, white belt cloth. A large bowl with thick green leaves, a wine bottle and two glasses, are depicted in the background above the group of figures. Corner spandrels at the top corners further suggest that the scene is taking place in an 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The text proper includes a title cartouche in larger script, tables with dates, and multiple inscriptions or commentaries in different hands, both inside the text block and in the margins. The painting of the monthly allegory in the upper margin is pasted in a 90-degree angle turned to the right. The rectangle shows a human figure in three-quarter profile with a halo before a blank background enlivened with red flowers, who is facing down towards the text. He wears a long-sleeved, knee-length pink pleated robe, a gold belt, and a blue cloth draped over his shoulder. The figure has grasped a corn-like plant with his left hand, which he is cutting off closer to its roots with a golden sickle in his right hand. This reflects the harvesting of crops in July, as indicated by the Arabic inscription of *Yuliyus* on the image. 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The figure in three-quarter profile, wrapped in long grab robes with luxurious gold clasps, is seated before a blank background and flanked by two high shrubs with pink flowers. As it is pasted in a 90-degree angle turned to the right, the figure is facing upwards, away from the text proper. The seated figure is likely a prince or a king due to his high tripartite crown and the large golden goblet in his raised right hand. To the left, a high-neck golden bottle indicates that he is consuming wine. Both the wine cup in his right hand as well as the royal handkerchief in his left hand represent symbols of kingship. The depiction of Capricorn in the centre of the outer margin shows the animal striding in profile to the left, with light-brown fur and long curved horns. It is standing within a rocky purplish foreground and before a sparse hilly backdrop in front of a golden sky."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/867e7c2f-1028-5e3c-803b-e1a35058059d.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 8a shows three small paintings pasted into the margins around the text block. The text proper includes a title cartouche in larger script, tables with dates, and multiple inscriptions or commentaries in different hands inside the text block. Additionally, the Latin inscription praising and honouring the Christian God (*Deo Trino et Uno honor Lausq(ue) infinita*) was added to the upper left corner. To the left, on the upper margin, the monthly allegory of February (*Fivaryush*) was pasted in a 90-degree angle turned to the right, the figure facing upwards, away from the text block. Before a blank background, a bearded man in a three-quarter profile with a halo, dressed in grey with a red shawl and red shoes, is kneeling before a flickering golden fire, seemingly warming his hands. Behind him, a high shrub with pink flowers is the only indication of the scene taking place outside. In the outer margin, the sign of Pisces is displayed as a white fish in blue water, above which a green shore and red flowers are shown before a sparse hilly landscape in front of a golden sky. Interestingly, another painting was added below, which stylistically imitates the allegorical paintings associated with the months of the year. It is turned in a 90-degree angle to the right, the figure facing upwards. A woman clad in a long green skirt and a pink shirt is shown in a three-quarter profile with a golden nimbus. She is crouching down, holding a fish in each hand, likely pulling them out of the water depicted before her."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/24335686-58bb-5434-8766-fa862f4c2b41.jpg","display_order":4,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["1a911f25-2169-5473-b48f-e5e9bf7e6aff","a054eff3-ab33-572b-8c6c-47a7d300c111","f2c933f6-93e1-5c11-a123-36ceacc8076f"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"},{"id":"c8032017-c33f-55e1-a151-e29f5fc4d134","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:24","kind":"gallery","slug":"manuscripts","legacy_host":"https://manuscripts.museumwnf.org","name":"Manuscripts"}],"languages":["ar","en"]},{"id":"c343e522-683c-5e4b-8f73-edba72f1ed53","type":"object","internal_name":"Aş Evi (Bektashi Kitchen)","backward_compatibility":"mwnf3:objects:EXTHE:tr:Mus75:1","project_id":"09bed55d-efe6-50e0-8c24-1647bc9822eb","partner_id":"4ae6aefa-08cf-5ed6-bbcd-71c4590a95b9","country_id":"tur","owner_reference":null,"mwnf_reference":"EXTHE17 01","start_date":1250,"end_date":1950,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/bcb07253-61d4-5dc7-a875-840d913637d9.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Nevşehir Hacıbektaş Museum"}],"tag_ids":["883adcad-6fa4-50de-8273-d4940ffc9fb3","42831464-1429-52a3-8841-5476a2330082","d6be0ad2-020f-537d-bae1-9db01bf55f31"],"dynasty_ids":[],"glossary_ids":["b64a1f79-8f29-5ad4-8e98-379f8e05cb1b"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["en"]},{"id":"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9","type":"object","internal_name":"Austrian toy theatre set: 'The Caravan to Mecca. 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الحوض الكبير من الرخام في مراكش مشابه بالشكل و التزيين و الأبعاد.","en":"This large marble basin in Marrakesh is similar in form, decoration and dimensions.","fr":"Cette grande vasque de marbre conservée à Marrakech présente une forme, une décoration et des dimensions semblables.","es":"Esta gran pila de mármol conservada en Marraquech presenta similares forma, decoración y medidas."}},{"id":"71097c2f-9da3-5adb-aa87-3f145ff8eb64","backward_compatibility":"mwnf3:monuments:ISL:es:Mon01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"وفقا لهذا النقش صنع حوض الرخام هذا من أجل المدينة الزاهرة في قرطبة وهي مدينة إدارية استوحي بناؤها من مدينة الزهراء المعاصرة لها.","en":"According to its inscription, this marble basin was made for the Córdoban citadel of al-Zahira, the palatine city inspired by its contemporary Madinat al-Zahra.","fr":"Selon son inscription, cette vasque de marbre a été fabriquée pour la citadelle cordouane d’al-Zahira, ville 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خلفية بيضاء من ورق أبيض. تحيط بهذه الاشكال تفرعات ملونة بألوان زاهية فوق خلفية ذهبية. كما تُزين الهوامش المحيطة في الوسط نقوش دقيقة من أوراق وأغصان  الكرمة الذهبية ذات رؤوس زهرية كبيرة.","en":"Fol. 1b provides a richly illuminated opening page with a decorative field (*’unwan, sarlauh*). This ornamental field consists of a narrow horizontal bar depicting the title in white *naskh* script on a gold background. Above, a high palmette-like intricate illuminated composition in gold, blue, red and other colours dominate the overall page layout. A band of flowering tendrils divides the two columns of text, which is inscribed in cloud-like shapes with blank paper background. Around these shapes surrounding the text, colourful flower tendrils are depicted in a gold background. The margins around the text block show delicate golden palmette vine designs with large flower heads."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f67af4d6-4cee-5988-96d8-38ce7070fa60.jpg","display_order":3,"alt_text":null,"captions":{"ar":"عل الصفحة 7a، تصور لوحة كاملة المعراج إلى السماء خلال رحلة النبي محمد الليلية. يوجد سطران من النص في الأعلى والأسفل يشكلان إطارًا للمشهد المصور بشكل حيوي على الصفحة. في وسط الرسم يظهر النبي محمد وحجاب يغطي وجهه، إذ يجب ألا تظهر ملامح وجهه. ويظهر وهو يمسك بلجام المطية \"البراق\" ذات الرأس البشري ويضعه على صدره، بينما تحيط بهما هالة من اللهب ترمز إلى قدسيتهما. أمام سماء الليل الزرقاء الداكنة ذات الغيوم الذهبية التي تمتد عبر الرسم، يظهر سبعة أشخاص مجنحين بملابس ألوانها زاهية تحيط بهم. يحملون أوعية متوهجة بنار ذهبية، ويظهر أحد الأشخاص أعلاها يصب محتويات وعائه على النبي في لفتة أنها الوحي. الشخص المجنح على اليسار أمام النبي محمد يحتمل أن يكون جبريل، الذي يحمل علمًا أخضر يمتد إلى الحافة العلوية، وهو يوجه النبي إلى السماء العليا. في الزاوية العلوية اليسرى يظهر وجه القمر كاملًا ناظرًا مباشرة إلى المشهد.","en":"On fol. 7a, the *mi'raj* or ascension into heaven during the Prophet Muhammad’s ‘Night Journey’ is represented in a full-page painting. Two lines of text at the top and bottom frame the vivid depiction transpiring on the page. In the centre of the painting, Muhammad is shown with a veil over his face, as the likeness of the Prophet should not be captured. He grips the reigns of his human-headed mount Buraq to his chest as a flaming aureole surrounds them, revealing their sacred nature. Before the dark blue night sky with golden clouds that stretches across the painting are seven colourfully dressed winged figures encircling them. They carry bowls with golden fire, with one figure at the top even pouring its contents over the prophet in a likely revering gesture. The winged figure on the left before Muhammad is possibly Gabriel/Jibril, who carries a green flag that extends into the upper margin, guiding the Prophet upwards to the Heavens. In the upper left corner, the full face of the moon is looking directly at the viewer."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9f45e2d1-cc1e-555b-8adb-c7f9efcc616f.jpg","display_order":4,"alt_text":null,"captions":{"ar":"تتضمن الصفحة 52a رسمًا يشغل صفحة كاملة يصور محاولة قطع رأس مشتري وبدر في محكمة شابور، التي أُحبطت في النهاية بتدخل بهزاد. يأمر شابور والد مهر الجلاد بإعدام رأس مشتري ومبعوثه بدر، لكن ابن أخيه بهزاد يتدخل لصالحهما. تحيط سطور النص اللوحة من الأعلى والأسفل.  يضم المشهد أشخاص عدة داخل غرفة العرش المزخرفة ببذخ بزخارف الزهور والاشكال الهندسية القرمزية والفيروزية. يرتدي شابور تاجًا مزخرفًا ومنديلًا، ويجلس متربعًا على عرش ذهبي مرتفع على اليمين. ينظر إلى بهزاد، الذي يرتدي لباسًا أخضر ويقف بين مجموعة من رجال البلاط، وكما تدل حركات ذراعيه فهو يتحدث بتأثر. اثنان من رجال البلاط الجالسين أمامه يلتفتون أليه وينظرون. في المقدمة أسفل اليسار، يرفع الجلاد سيفه ناظرًا إلى الرجلين المحكوم عليهما، وهما راكعان على سجادة أمامه، حاسرا الرأس ومعصوبي العينين. يرفع رجال البلاط المحيطون بهم أيديهم وهم منخرطون في نقاش حاد، إما نحو محور المشهد أو، كما هو الحال مع الرجال الثلاثة في أسفل اليمين، يتحدثون فيما بينهم. التسلسل الهرمي الواضح لشابور والرجال المعصوبي العينين مرتب بشكل جيد من خلال خط قري يفصل بين نظرة الحاكم والمحكومين، بينما يظهر الصخب النشط بين الحاشية والبلاط والسجاد بألوانها الزاهية المتنوعة.","en":"Fol. 52a includes a full-page painting depicting the intended beheading of Mushtari and Badr at the court of Shapur, which was ultimately prevented through Bihzad's intercession. Shapur, the father of Mihr, orders the executioner to behead Mushtari and his messenger Badr, but the former's nephew Bihzad intercedes on their behalf. The lines of text frame the painting at the top and at the bottom. The scene is populated by various people in a throne room lavishly decorated with purple and turquoise floral and geometric ornaments. Shapur, donning a decorated crown and a handkerchief, is seated cross-legged on a high golden throne on the right. He is looking at Bihzad, who is dressed in green. He is standing amongst a group of courtiers and, as his arm movements show, is speaking up impassionately. Two of the seated courtiers before him turn their heads and look up at him. In the foreground on the lower left, the executioner has his sword raised and looks down at the two condemned men kneeling on a carpet before him, whose heads are bared and blindfolded. The courtiers around them have their hands raised in lively discussion, and are either turned towards the mentioned focal points of the scene or, as is the case with the three men on the lower right, are conversing with each other. The distinct hierarchies of Shapur and the blindfolded men is well-composed by forming a diagonal line between the ruler’s gaze and the condemned, and the loud dynamic of the arguing courtiers is offset by the depicted murals, tiles, and carpets in various, vibrant colours."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/00d2fa3f-e1f1-5c1b-9cd6-a0f0ce25e5f0.jpg","display_order":5,"alt_text":null,"captions":{"ar":"تتضمن الصفحة 86a رسمًا بقياس صفحة كاملة مؤطرًا بسطرين من النص أعلى وأسفل المشهد. يظهر مشتري وأصدقاؤه مجبرين على ركوب سفينة على يد الشرير سيئ السمعة بهرام. أمام سماء ذهبية ومناظر طبيعية قرمزية، أُجبرت المجموعة على ركوب سفينة في بحر قزوين بعد محاولتهم الهروب في القافلة، لكن بهرام قبض عليهم أثناء ذلك. على اليسار، يظهر بهرام ممتطيًا جواده، بينما تظهر القافلة المهجورة مع بغالها إلى يمينه، شبه مختفية خلف الشراع الأبيض العالي للسفينة. ينظر إلى الأسفل رجلان يمنعان مشتري وصديقه من الهرب من السفينة، التي تعوم على مشهد مائي يعج بالأسماك. هناك مجموعة من الرجال يرتدون العمائم يجلسون أمام السارية الرئيسية، بينما يتسلقها شخص ذو بشرة رمادية وشعر أسود خفيف، ولا يرتدي سوى نوع من الإزار. في أعلى اللوحة، يمتد جزء منها إلى الحواف العلوية، حيث يجلس شخص مكتسي كليًا ومرتدي عمامة، يراقب الحركة والنشاط في الأسفل. وفي آخر السفينة يظهر بناء يشبه القلعة الخلفية، يتألف من عدة طوابق. في المستوى السفلي، تتحدث امرأتان محجبتان ترتديان الأبيض، بينما يشاهد رجل المشهد من الطابق العلوي، وقد يكون نائب القبطان. جميع الأشخاص الثلاثة يظهرون بأحجام تبرز نصف أجسادهم، بينما تظهر شخصيتان أصغر حجمًا في الطابق الأعلى بهيئة كاملة، ربما لإضفاء طابع هرمي، إذ يحتمل أنهم مسؤولون عن قيادة السفينة. تعكس الإيماءات والعناصر التركيبية مختلف جوانب المشهد بتفاصيل دقيقة. تدعو الشخصيات الظاهرة أعلى السارية، وكذلك خلف الصخور الأرجوانية في خلفية المشهد، المشاهد إلى التأمل في طبقات هذا التصوير المفعم بالحياة.","en":"On fol. 86a, the full-page painting, framed by two lines of text above and below the telling scene, shows Mushtari and his friends involuntarily having to board a ship by the evil slanderer Bahram. Before a golden sky and purple landscape, the group is forced onto a ship in the Caspian Sea after attempting to flee in a caravan but caught by Bahram in the process. On the left, Bahram is depicted on horseback, while the forsaken caravan with mules to his right is half hidden by the high white sail of the embarking ship. He looks down at two men restraining Mushtari and his friend from escaping from the ship, which is floating on a silver waterscape populated by fish. A group of men with turbans sit in front of the high mast, where a figure with greyish complexion, thin black hair and solely clad in a type of loincloth is climbing. At the top, extending into the upper margins, a fully clad figure with a turban is sitting and watching the hustle and bustle below. At the back of the ship, a structure reminiscent of an aftercastle with multiple levels is shown. On the lowest level, two veiled women clad in white are conversing, while a man witnesses the scene from the level above who may be representative of the captain. All three figures are depicted in half-body depictions, but two smaller figures on the highest tier of the structure, however, are illustrated as full-body figures likely in an attempt to create a sense of hierarchy, as they are possibly in charge of steering the ship. The various dynamics of the scene are expressed in great detail through gestures and compositional elements. The witnessing figures on top of the mast as well as behind the purple rocks in the background of the scene invite the viewer to take in the several layers of this lively depiction."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4065017a-9199-57aa-b15d-889e82887ec1.jpg","display_order":6,"alt_text":null,"captions":{"ar":"تصور معركة مشتري مع آكلي لحوم البشر في لوحة كاملة في الصفحة 92aو ويحيط بها سطران من النص في أعلى وأسفل المشهد. يظهر ثلاثة شبان خيالة، ذو ملامح رقيقة وملابس فروسية متقنة، يطاردون مجموعة من الرجال الضخام ذوي البشرة الداكنة، الذين يشبهون الوحوش. هؤلاء يرتدون مآزر تغطي عوراتهم، وغالبًا ما يضعون قلائد من الذهب وأساور وخلاخيل، ولا يملكون سوى العصي والحجارة. ينقسم المشهد إلى عدة مستويات: المقدمة الصخرية، تليها المنطقة الوسطى حيث تدور المعركة على أرضية قرمزية، ثم المنطقة خلف الصخور حيث يراقب أربعة رجال متوحشين المشهد ويتناقشون فيما بينهم، وبعدها يظهر مشهد السماء الزرقاء مع شجرة مورقة في الزاوية العلوية اليسرى. كانت نتيجة المعركة بين الشبان الثلاثة والوحوش السبعة آكلي لحوم البشر واضحة، فقد قُطع رأس أحد العمالقة، بينما يرقد آخر على الأرض تحت وطأة رفيقه، الذي أحكم أحد الشبان قبضته على رقبته. الفارس في الأعلى - يُرجّح أنه مشتري لأنه يرتدي تاجًا، يقطع رأس أحد المتوحشين بسيفه الطويل، بينما الفارس على اليسار في الأسفل يرفع سيفه بتهديد، مستعدًا لضرب أحد المتوحشين اللذين يتقربان منه من الخلف، أحدهما بالحجارة والآخر يشد ذيل الفرس. يعكس هذا المشهد العنيف والديناميكي التباين الصارخ بين الشباب الأقوياء في مظهرهم الراقي، وبين ترسانة الشياطين المتوحشة المحدودة، مما يؤدي إلى هزيمتهم الساحقة.","en":"Mushtari's fight with the man-eaters is shown in a full-page painting on fol. 92a, and is framed by two lines of text at the top and bottom of the image. Three mounted youths with delicate features and elaborate riding gear are charging against a group of wild, giant, div-like, dark-skinned men. The latter wear loincloths often bearing their genitalia as well as gold necklaces, armlets, and anklets. They are armed only with sticks and stones. The scene is divided into multiple registers: the rocky foreground, followed by the middle ground with the actual fighting on a purple ground, the zone behind the rocks where four man-eaters watch the scene and discuss amongst themselves, and the blue sky with a leafy tree in the upper left corner. The outcome of the fight between the three youths and the seven man-eaters is clear, as one giant is already beheaded, another one is lying on the ground being trampled on by his comrade, who is trapped in a headlock by one of the youths. The rider above – likely Mushtari as he is wearing a crown – is halving the head of one of the div with his long sword, while the rider on the left below has menacingly lifted his sword, ready to strike one of the two divs approaching him from behind, one with stones, the other pulling the horse’s tail. This brutally dynamic scene shows the stark contrast between the strong youths in elegant stances and the limited arsenal of the brutish demons, leading to their slaughter in a crushing defeat."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/981542ef-0f0b-5a61-a8f5-71959e2fa08f.jpg","display_order":7,"alt_text":null,"captions":{"ar":"تحيط الرسمة التي تشغل صفحة كاملة سطران من النص أعلاها وأسفلها في الصفحة 115a، وتصور الأمير مهر وهو يزور حمامًا. تزخرف اللوحة النابضة بالحياة حشد من الرجال في أوضاع وأنشطة مختلفة، يفصل بينهم قسمان معماريان. على اليسار، توجد غرفة انتظار تضم أشخاصًا يرتدون ملابسهم في مراحل مختلفة من الاستعداد للاستحمام.  في الأعلى، يُرجّح أن الأمير مهر يُصوّر وهو يخلع ملابسه بمساعدة شخص أصغر منه حجمًا. أمامهم في المقدمة، يجلس رجل على حافة المنصة وقد غطى رأسه بقطعة قماش، بينما يقوم شخص يُرجّح أنه خادم بغسل قدميه. في الأسفل، يوجد شخصان يتحادثان. أمام بركة الماء الصغيرة عند قاعدة العامود، يظهر شخص ضخم يرتدي مئزراً فقط ويحمل وعاءً في يده، ويرافقه شخص أصغر حجمًا، ويظهر الأول وهو يدخل الغرفة الرئيسية للحمام على اليمين. هذه الغرفة مكونة من قاعة كبيرة تؤدي إلى غرف أصغر في الخلفية. تصور هذه الرسوم مراحل مختلفة من الاستحمام والتنظيف، مجسدة ببراعة، بدءًامن حلق شعر الجسد والتدليك، وصولًا إلى سكب الماء على رأس المستحمّ.","en":"The full-page painting is framed by one line of text above and below on fol. 115a and depicts Prince Mihr visiting a bath, or *hamam*. The lively scene is populated by a multitude of men in different poses and activities, divided by two architectural units. On the left, an anteroom includes dressed figures in different stages of readying for a bath. At the top, Prince Mihr is likely depicted, undressing with the help of a smaller figure. In front of them, sitting on the edge of the platform, a man with a cloth draped over his head has his feet washed by a figure likely representing a servant. Underneath, two people are conversing. Before the small pool of water at the base of the column, a large figure only clad in a loincloth and holding a bowl in his hand is accompanied by a smaller figure, the former in the act of entering the main room of the bath on the right. This room consists of a larger hall leading into individual niches in the background. The figures are shown in different, vividly rendered phases of bathing and trimming, from shaving body hair and being scrubbed down to pouring a bowl of water over one’s head."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9782037a-6358-5e51-b46d-cf97317155f8.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 136a يظهر رسم بقياس صفحة كاملة يصور مباراة البولو بين الأمير مهر وكيوان خوارزم، مؤطرة بسطرين من النص في الأعلى وسطر واحد في الأسفل. يتقابل فريقان متنافسان، يتألف كل منهما من ثلاثة فرسان، حاملين مطارق خشبية طويلة في المقدمة. الشخصان اللذان يتقاطعان بمطرقتيهما في المنتصف هما مهر وكيوان، وكلاهما يحاول ضرب الكرة الذهبية الصغيرة الموضوعة على أرضية باللون الأخضر الزيتوني. في المحور المركزي خلفهما، يظهر هدف يتألف من عمودين. حول الهدف، تظهر شخصيات متفرجة في مجموعات صغيرة، بالإضافة إلى موسيقيين اثنين: أحدهما يحمل طبلًا كبيرًا، والآخر يحمل زوجًا من الطبول الصغيرة، في حركات متنوعة وأزياء زاهية الألوان.","en":"On fol. 136a, the full-page painting depicts prince Mihr's polo match with Kaiwan of Khwarazm, framed by two lines of text at the top and one line of text at the bottom of the image. The two opposing teams of three riders each confront each other with raised long-handled wooden mallets in the foreground. The two figures crossing their mallets in the centre are Mihr and Kaiwan, both trying to hit the small golden ball laying on the olive-green ground. In the central axis behind them, a goal consisting of two poles is depicted. Around this goal, onlooking figures in small groups as well as two musicians, one with a pair of large kettledrums and the other with a pair of small ones, are captured with varying gestures and a vivid array of multi-coloured costumes."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/cb670c39-37e3-5873-84d4-bb531dce2531.jpg","display_order":9,"alt_text":null,"captions":{"ar":"تصور الصفحة 164a مشهد معركة بين الملك كيوان وجيش قَره خان، في رسم يشغل صفحة كاملة. تدور أحداث المعركة على أرضية وسطى بلون قرمزي مائل إلى الرمادي، تتقدّمها خلفية مصفّرة، حيث تتقاطع ثلاثة صفوف من الفرسان على خيول مدرّعة جزئيًا في صراع دموي محتدم. يرتدي الفرسان الخوذ، ويضع بعضهم دروعًا تحمي الأذرع والسيقان، ويخوضون القتال مستخدمين الأقواس والسهام والسيوف الطويلة. خلف الحدّ الصخري العلوي، يتمركز حَمَلة الرايات، وتبرز أعلامهم في الهوامش العليا للمشهد. وفي المقدّمة القريبة، يظهر عازفا بوق يبدو أنهما يشجّعان القوة الغالبة. يمكن تمييز المجموعة المعادية من خلال اختلاف خوذها أو غيابها، إذ يهاجم الفرسان المدرّعون في الصفين العلوي والسفلي مقاتلين بلا دروع أو خوذ، يمتطون خيولًا غير مدرّعة. يرتدي هؤلاء المقاتلون المنهزمون ألبسة صفراء، وقد شُطر رأس الرجل في الصف العلوي إلى نصفين بسيف طويل، بينما حُوصر الرجل في الصف السفلي بين رامٍ للسهام ومبارز بالسيف، وقد استقرّ سهم في صدره، ينزف منه الدم. كما يظهر مقاتل آخر وقد لقي حتفه، حيث سُحق الجزء العلوي من جسده تحت حوافر الخيول الراكضة. ويتكرر المشهد ذاته في المقدّمة، حيث دُهس رجل بلا خوذة تحت أقدام الخيول المدرّعة. غير أن المشهد الأوسط يعرض فارسًا يحمل رمحًا طويلًا يطعن خصمًا يرتدي خوذة مماثلة، بينما يرفع هذا الأخير سيفه إلى اليمين. وبذلك، تتداخل مظاهر القوتين المتصارعتين، مما يجعل تمييزهما أمرًا صعبًا، ويضفي على مشهد المعركة قدرًا من التشويش والتعقيد البصري.","en":"Fol. 164a depicts the battle of King Kaiwan with the army of Qara Khan in a full-page painting. Before a purple-grey middle ground and yellowish background, in three intersecting rows of horsemen on partly armoured horses, dense combat is taking place. The riders wear helmets, some also arm and leg splints, and fight with bows, arrows and long swords. Tucked behind the upper-rocky threshold are the flag bearers, with their flags protruding into the upper margins. Nearby, two trumpet players seemingly cheer on the winning force. The opposing group may be distinguished by their helmets or lack thereof, as armoured riders in the upper and lower rows attack figures who lack any armour or headdress, and are mounted on bare horses. These unfortunate figures are wearing yellow garments; the head of the uppermost cleaved in half by a long sword, while the one at the bottom is cornered by an archer and a swordsman, an arrow already lodged in his chest, from which blood is dribbling down. Another man has already been slain, his severed upper body being trampled on by the galloping horses. A similar sight is presented in the foreground, a man without helmet is being run over by the armoured horse. Yet, the scene in the centre shows a horseman with a long lance stabbing a figure with similar headgear and a raised sword on the right. As such, the opposing forces are not easily distinguishable, adding to the confusion and complexity of the battle scene."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/358259b4-b447-56bc-9fa0-395e96c3d8aa.jpg","display_order":10,"alt_text":null,"captions":{"ar":"الرسم منفَّذ على صفحة كاملة، ومؤطَّر بسطر واحد من النص في الأعلى والأسفل. وتُظهر الصفحة 189b مشهد احتفال بزفاف الأمير مهر والأميرة ناهد داخل جناح الحريم في القصر. يزدان الفضاء الداخلي بزخارف هندسية ونباتية متنوّعة، تتوزّع على السجاد والبلاطات واللوحات الجدارية، مع سيطرة تدرّجات اللونين القرمزي والأزرق. في النصف العلوي من التكوين، تظهر ناهد جالسة على عرش واسع، موجّهة نظرها نحو مهر الذي يدخل من الجهة اليمنى قادمًا من غرفة مجاورة، بينما يرافقه الخدم لإرشاده. أمّا النصف السفلي فيضمّ مجموعات من النساء المصوَّرات في أوضاع متعدّدة، ينخرطن في الحديث، تقديم الطعام، الرقص، أو العزف الموسيقي. في الزاوية العليا اليسرى، تقدّم إحدى النساء وعاءً ذهبيًا ضحلًا يحتوي على حبّات رمان وفواكه أخرى. في الأسفل، يظهر موسيقي يعزف على القيثارة، بينما يرافقه آخران يقرعان الدف. وفي مركز المشهد، ترقص امرأتان تحملان مناديل، تحيط بهما شمعتان مضاءتان موضوعتان في حامل قنديل (شمعدان). إلى الجهة اليسرى، تُرى ثلاث نساء يرفعن أيديهن في حركة تعبّر عن بهجة احتفالية واضحة. في المقدّمة، وُضِع وعاءان من الخزف الأزرق والأبيض مزوّدان بأغطية، مع ظهور ثلاثة أوعية مماثلة أخرى أسفل العرش، وهو عنصر زخرفي يضفي على المشهد طابعًا ملكيًا غنيًا بالفخامة والرقي.","en":"The full-page painting, framed by one line of text at the top and bottom, on fol. 189b shows the wedding feast of Prince Mihr and Princess Nahid in the harem of the palace. 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هذا الشمعدان خصيصا ليستخدم في هذا المجمع من المساجد و يظهر تأثير الفن المملوكي في شكله.","en":"Specially made for use in this mosque complex, this candlestick shows the influence of Mamluk art in its form.","fr":"La forme de ce chandelier, spécialement fabriqué pour ce complexe-mosquée, témoigne de l’influence de l’art mamelouk.","es":"Este candelero, hecho especialmente para ser usado en esta mezquita, muestra la influencia del arte mameluco en su forma."}},{"id":"972eaeb6-771d-51c1-8f3d-d7b7014a17dc","backward_compatibility":"mwnf3:monuments:ISL:tr:Mon01:15","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"هذا البناء خان مهم للمدينة لتجارة الحرير في العاصمة السابقة بورصة و كلاهما أمر ببنائهما نفس السلطان.","en":"Both commissioned by the same sultan, this building is an important city *han* for silk trade in the former capital Bursa.","fr":"Commandité par le même sultan, cet édifice est un important *han* urbain pour le commerce de la soie dans l’ancienne capitale, Bursa.","es":"Este edificio es un importante han para el comercio de la seda en la antigua capital, Bursa. 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Fue renovado por el mismo sultán."}},{"id":"d8d5a5cd-689f-5f68-bcf7-940b003039aa","backward_compatibility":"mwnf3:objects:ISL:tr:Mus01:20","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{}},{"id":"f7759c4e-3d0e-535a-b438-1292b547ebc5","backward_compatibility":"mwnf3:objects:ISL:tr:Mus01:21","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مثال نادر و رائع لكبين مصحف مزين بالتخطيط محضّر للسلطان بيازيد الثاني الذي أمر ببناء المجمع في أدرين.","en":"A rare and fine example of a Qur’an cabinet decorated with calligraphy, prepared for Sultan Bayezid II who commissioned this complex in Edirne.","fr":"Remarquable exemple de cabinet à coran décoré de calligraphie, réalisé pour le sultan Bayézid II qui commandita ce complexe à Edirne.","es":"Un raro y fino ejemplo de un mueble para Corán decorado con caligrafía, preparado para el sultán Bayezid II, quien encargó este complejo en 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Konyalı","copyright":null}],"tag_ids":[],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["0ad8de69-3a63-53bc-8e1b-4c6cae853bca","0f3fb66d-a491-591b-a0c2-56e11ec481aa","2003ec95-a720-51cb-9dcd-774d9dc9f389","a054eff3-ab33-572b-8c6c-47a7d300c111","aea62142-bf4f-5655-8c52-b1e856151ce7","b8c40deb-d541-5941-870e-bbb5a22c7520","c47920b0-c22e-53d0-aa8c-93eb3956ca0e","d71360cd-eac1-5408-b6b3-59ad3d8464b9","dd3cf38a-f162-5d5c-ab24-2d36d3b5de1c","ed1392a3-c2e4-5dca-8b74-eaef4f0f9c94","f2ec79dc-0998-56d5-8cc2-bce2d4228e77"],"artist_names":[],"media":[],"related_items":[{"id":"31eb9c11-7709-5c38-97a0-7eefad40702d","backward_compatibility":"mwnf3:monuments:ISL:tn:Mon01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"كلا هذين القصرين هما قصرين عثمانيين واحد في اسطنبول و الآخر في تونس و لكن يظهران ذوقا مختلفا في العمارة و الزخرفة.","en":"Both are Ottoman palaces – one in Istanbul and the other in Tunis – but display different tastes in architecture and decoration.","fr":"Les deux palais sont ottomans – l’un à Istanbul et l’autre à Tunis – mais répondent à des goûts différents en matière d’architecture et de décoration.","es":"Ambos son palacios otomanos – uno en Estambul y el otro en Túnez – pero exhiben gustos diferentes en la arquitectura y decoración."}},{"id":"32434888-ecb9-5b5b-bdc6-bc81ab4851b0","backward_compatibility":"mwnf3:monuments:ISL:tr:Mon01:24","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"بعد أن هجر قصر توبكابي التقليدي بنى السلاطين العثمانيون هذا القصر الصيفي على البوسفور.","en":"After the traditional Topkapı Palace was abandoned, the Ottoman sultans built this summer palace on the Bosphorus.","fr":"Après que le traditionnel palais de Topkapı eut été abandonné, les sultans ottomans construisirent ce palais d’été sur le Bosphore.","es":"Después que el tradicional palacio Topkapi fue abandonado, los sultanes otomanos construyeron este palacio 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محفور من الحجر ربما مرتبط بفترة حكم السلطان الغازي التي عمل خلالها على تعزيز (حماية ) المدينة و القلعة.","en":"A lion-carved stone probably linked to the period of al-Ghazi’s reinforcement of the city and the citadel.","fr":"Relief de lion en pierre datant probablement de la période de consolidation de la ville et de la citadelle par al-Ghazi.","es":"Un león tallado en piedra ligado posiblemente al periodo en el que al-Gazi reforzó la ciudad y la ciudadela."}},{"id":"0eb816fe-a6fd-5eb6-bd76-fe059b1cc12f","backward_compatibility":"mwnf3:objects:ISL:uk:Mus01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"قطعة من قارورة حاج التي تنسب للفترة الأيوبية في حلب و ممهورة بصورة رامي سهام على صهوة جواد.","en":"A fragment from a pilgrim’s flask which is attributed to the Ayyubid period in Aleppo and stamped with an image of an archer on horseback.","fr":"Fragment d’une gourde de pèlerin attribuée à la période ayyoubide d’Alep et estampée de l’image d’un archer à cheval.","es":"Un fragmento de una cantimplora de peregrino que se atribuye al periodo ayubí en Alepo y con una imagen tallada representando un arquero a caballo."}},{"id":"18c15448-b023-55e4-944b-b20b8f98eb2e","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:7","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"قلعة دمشق أنشئت من قبل العادل شقيق صلاح الدين بينما قلعة حلب أنشئت من قبل الظاهر غازي ابن صلاح الدين.","en":"The Citadel of Damascus was constructed by al-Adil, brother of Saladin, while the Aleppo Citadel was constructed by al-Zahir Ghazi, Saladin’s son.","fr":"La citadelle de Damas fut construite par al-Adil, frère de Saladin, tandis que la citadelle d’Alep fut construite par al-Dahir Ghazi, fils de Saladin.","es":"La ciudadela de Damasco fue construida por al-Adil, hermano de Saladino, mientras que la ciudadela de Alepo fue construida por al-Zahir Gazi, el hijo de Saladino."}},{"id":"27a8bc2c-716a-5b73-bc30-dce11b765646","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01_A:50","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"قارورة حاج مملوكية التي تم استخراجها من قلعة حلب.","en":"A Mamluk pilgrim’s flask which was excavated at Aleppo Citadel.","fr":"Gourde de pèlerin mamelouke trouvée lors de fouilles dans la citadelle d’Alep.","es":"Una cantimplora de peregrino mameluca que se excavó en la ciudadela de Alepo."}},{"id":"2a96e20e-2325-5bea-be93-cd4c4d73eac0","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:8","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"بينما بنى صلاح الذين قلعة القاهرة من الأساس فإن ابنه أكمل تجديد قلعة حلب . وكلاهما أصبحتا معلما بارزا للمدينتين الموجودتين فيهما.","en":"While Saladin built the Cairo Citadel from scratch, his son completely revamped Aleppo Citadel. Both becoming hallmarks of their respective cities.","fr":"Alors que Saladin construisait de toutes pièces la citadelle du Caire, son fils restructurait entièrement la citadelle d’Alep, chacun mettant son empreinte dans sa ville respective.","es":"Mientras Saladino construía la ciudadela de El Cairo desde cero, su hijo renovó totalmente la Ciudadela de Alepo. Ambos se convirtieron en emblemas distintivos de las respectivas ciudades."}},{"id":"55fc5107-27bd-5be8-8051-2257dd0d3ecc","backward_compatibility":"mwnf3:objects:ISL:de:Mus01:25","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مبخرة معقدة تكنولوجيا بمشاهد من الحياة الرسمية العسكرية التي استخدمت في القصور الأيوبية في القلعة.","en":"A technologically sophisticated incense burner with scenes of military courtly life which would have been used in the Ayyubid palaces of the Citadel.","fr":"Brûleur d’encens d’une technique sophistiquée comportant des scènes de vie militaire à la cour ; sans doute utilisé dans les palais ayyoubides de la citadelle.","es":"Un quemador de incienso tecnológicamente sofisticado con escenas de la vida militar y de la corte, que podría haber sido utilizado en los palacios ayubíes de la ciudadela."}},{"id":"7f96985d-fe50-5ad6-9b89-32ac54812a59","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01_A:49","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"القبر  الأجوف الحجري كان موجود أصلا في المقبرة المعتبرة في الصالحين و التي تقع جنوب قلعة حلب و تمتد من مقام إبراهيم.","en":"The stone cenotaph was originally located in the prestigious Cemetery of Salihin, which lies south of the Aleppo Citadel, and extends from Maqam Ibrahim.","fr":"Ce cénotaphe en pierre a été trouvé dans le prestigieux cimetière de Salihin, qui s’étend au sud de la citadelle d’Alep et autour du *maqam* Ibrahim.","es":"El cenotafio de piedra originalmente fue localizado en el prestigioso cementerio de Salihin, que yace al sur de la ciudadela de Alepo, y se extiende desde Maqam Ibrahim."}},{"id":"9beb3626-1910-5e59-a90a-ae27e1cb3c8d","backward_compatibility":"mwnf3:objects:ISL:tr:Mus01:4","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"بوابة تحرسها تنانين ملتفة على بعضها تظهر هنا كمطارق أبواب من القرن السادس الهجري / السابع عشر الميلادي مصنوعة من قبل أتابك الأناضول.","en":"Intertwined dragons ‘guarding’ a gateway, appear here as 7th/13th century doorknockers made by the Atabegs of Anatolia.","fr":"Les dragons entrelacés “gardant” une entrée apparaissent ici sous la forme de heurtoirs de porte du VIIe siècle H (XIIIe siècle J.-C.) fabriqués par les Atabegs d’Anatolie.","es":"Aquí aparecen dragones entrelazados en las aldabas “vigilando” la puerta de entrada del siglo VII/XIII elaborados por los atabegs de Anatolia."}},{"id":"d40f4cf7-8833-5a78-ab2e-a55dbf38460f","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01:20","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"جرة ماء كبيرة معاصرة للقلعة . وهي تتميز بأشكال أزواج أفاعي ملتفة حول بعضها تشبه التنين مشابهة لتلك المنحوتة  على الحجر في بوابة القلعة.","en":"A large water jar, contemporary to the Citadel. It features intertwined dragon-like serpents similar to those on the Citadel’s stone-carved gate.","fr":"Contemporaine de la citadelle, cette grande jarre est ornée de deux serpents ou dragons entrelacés semblables à ceux du porche en pierre sculptée de la citadelle.","es":"Una tinaja grande, contemporánea a la ciudadela. Tiene representaciones de serpientes con forma de dragones entrelazadas similares a las que se excavaron en la puerta de piedra tallada de la ciudadela."}}],"gallery_references":[],"languages":["ar","en","es","fr"]},{"id":"22d721a5-3840-5af9-8c84-912b213423e2","type":"monument","internal_name":"Citadel of Amman (Water Reservoir).","backward_compatibility":"mwnf3:monuments:ISL:jo:Mon01:34","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"804de1a6-e288-5381-8982-10883c9b8fcb","country_id":"jor","owner_reference":null,"mwnf_reference":"JO 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the statue of Hisham, the patron of the monument.","fr":"On pense que cette statue est celle de Hicham, le mécène du palais d’Hallabat.","es":"Se cree que la estatua representa a Hisham, el patrocinador del palacio de Hellbat."}},{"id":"9905bf41-30f3-505a-84b5-5d1abdf32a88","backward_compatibility":"mwnf3:objects:ISL:jo:Mus01_H:34","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"تمّ العثور على القطعة داخل نطاق مواقع التنقيب الأثرية.","en":"Object found in the course of archaeological excavations at the site.","fr":"Objet mis au jour au cours de fouilles archéologiques sur le site.","es":"Objeto encontrado en el transcurso de las excavaciones arqueológicas en el emplazamiento."}},{"id":"a32edb8e-fb20-5784-a0b9-a942023390cd","backward_compatibility":"mwnf3:monuments:ISL:jo:Mon01:5","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"تمّ البناء وِفقًا لأمر من نفس الولي.","en":"Built by the same 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al-Ayyubi.","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:8","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"bc3696f3-8f77-5a5a-8d83-cb8445448b36","country_id":"egy","owner_reference":null,"mwnf_reference":"ET 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هذه القلعة ايضاً تحصين عسكري وتعود الى العصر الايوبي.","en":"This citadel is also a military fortification from the Ayyubid period.","fr":"Ces citadelles sont des fortifications militaires de la période ayyoubide.","es":"Esta ciudadela también es una fortificación del periodo ayyubí."}},{"id":"b20793d5-1141-55aa-a80e-ab4725d92f81","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{}},{"id":"b6eaa68e-89bb-5d41-9802-1508be85c8ac","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:14","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"دفن صلاح الدين في هذا القبر.","en":"Salah al-Din Ayyub lies in this tomb.","fr":"Salah al-Din al-Ayyoubi repose dans ce tombeau.","es":"Salah al-Din Ayyub yace en esta tumba."}}],"gallery_references":[],"languages":["ar","en","es","fr"]},{"id":"f2c92da1-bd97-52aa-b11f-4ac0d34fc18e","type":"monument","internal_name":"Khan al-Khalili.","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:18","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"bc3696f3-8f77-5a5a-8d83-cb8445448b36","country_id":"egy","owner_reference":null,"mwnf_reference":"ET 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omeya oriental que se utilizaba en el comercio de seda."}},{"id":"e28848aa-7436-5518-abe8-0e71a1e0d924","backward_compatibility":"mwnf3:objects:ISL:jo:Mus01_D:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مجموعة أوزان استخدمت في الصفقات التجارية في عصر الأمويين الشرقيين في القرن الثاني الهجري / الثامن الميلادي.","en":"Set of weights used in commercial transactions used at the time of the Eastern Umayyads in the AH 2nd / AD 8th century.","fr":"Gamme de poids utilisés dans les transactions commerciales sous les Omeyyades d’Orient IIe siècle H (VIIIe siècle J.-C.).","es":"Juego de pesas que se utilizó en transacciones comerciales en la época de los omeyas orientales en el siglo II A. 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other.","fr":"Le caravansérail seldjoukide faisait partie d’un véritable réseau de caravansérails qui permettaient aux voyageurs, marchands et pèlerins, de traverser le monde musulman de part en part.","es":"El caravasar era parte de una red que le permitía a viajeros, mercaderes y peregrinos viajar de un extremo del mundo musulmán al otro."}},{"id":"1e36e46d-3a70-5c50-9e85-b70b2c3e4435","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:27","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"كان مولاي إسماعيل بنّاءا  عظميا  و قام ليس فقط  ببناء القصور و الأوابد و لكن أيضا البنى التحتية الاجتماعية و الاقتصادية و التجهيزات.","en":"Mulay Isma’ïl was a great builder, not just of palaces and monuments, but also of socio-economic infrastructure and equipment.","fr":"Moulay Ismaïl a été un grand bâtisseur, non seulement de palais et de monuments, mais aussi d’infrastructures et d’équipements socio-économiques.","es":"Mulay Ismail fue un gran constructor no solo de palacios y monumentos, sino también de infraestructuras socioeconómicas y herramientas."}},{"id":"4ce16579-eead-5fac-be74-a2151bdada7c","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"العنصر الأساسي  في عمل مولاي إسماعيل لإعادة بناء مدينة مكناس كعاصمة للإمبراطورية.","en":"A central element in Mulay Isma’il’s restructuring of the town of Meknès as capital of the empire.","fr":"Élément central de la restructuration de la ville de Meknès en tant que capitale de l’empire par Moulay Ismaïl.","es":"Un elemento central en la reestructuración que Mulay Ismail realizó en la ciudad de Mequinez como capital del imperio."}},{"id":"6ce7585a-6af3-5c01-acdf-e9095b77b4a9","backward_compatibility":"mwnf3:objects:ISL:ma:Mus01_C:47","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"قطعة خزفية  استخدمت لتخزين الزيت.","en":"A ceramic item used to store oil.","fr":"Ustensile utilitaire en céramique fabriqué au XIXe siècle ; il servait à stocker l’huile.","es":"Objeto de cerámica utilizado para almacenar aceite."}},{"id":"8c4d3b2b-b470-5f35-bed2-4232604f8bca","backward_compatibility":"mwnf3:objects:ISL:dz:Mus01:20","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"أداة   رخامية مستخدمة من قبل تجار القماش . الذراع هو مقياس               و يقسم إلى أجزاء و كان واحدة قياس الطول المستخدمة من قبل التجار.","en":"Marble instrument used by fabric merchants. The cubit measure, divided into spans, was the length measurement used by merchants.","fr":"Instrument en marbre translucide datant du VIIIe siècle H (XIVe siècle J.-C.), et utilisé par les marchands d’étoffe ; la coudée, divisée en empans, était l’unité de mesure de longueur des marchands.","es":"Instrumento de mármol utilizado por mercaderes de telas. El codo, dividido en palmos, era la medida de longitud que utilizaban."}},{"id":"93203c86-42c5-54ef-86ab-b477e11842f8","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:22","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"الخانات كانت تؤمن الإقامة للمسافرين و هي أماكن تخزين و إسطبلات للحيوانات.","en":"Caravanserais offered travellers lodgings, storage and stabling.","fr":"Les caravansérails (*fondouk* au Maghreb, wikala au Machrek) offraient aux voyageurs l’hébergement ainsi que des lieux de stockage et des écuries.","es":"Los caravasares le ofrecían alojamiento, almacenes establos a viajeros."}},{"id":"e3f7d3b9-509a-5b0d-8591-95270af03e15","backward_compatibility":"mwnf3:objects:ISL:ma:Mus01_B:49","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"قطعة من العصر العلوي مستخدمة من قبل فارس خلال الاحتفالات و المهرجانات.","en":"Alawid object used by horsemen during ceremonies and festivals.","fr":"Objet d’époque alaouite utilisé par les cavaliers lors des cérémonies et fêtes.","es":"Objeto alawí utilizado por jinetes durante las ceremonias y los festivales."}},{"id":"e9ac8bfe-e5a8-566c-836f-41ec7b0ff65e","backward_compatibility":"mwnf3:objects:ISL:dz:Mus01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"الأوقية  ( حوالي 70 غراما ) كانت تستخدم كواحدة للوزن حتى عهد قريب و هذا المعيار الذي وضعه الأمويون في الأندلس ( المثقال ) استخدم من قبل التجار للتأكد من  وزن 20 أوقية.","en":"The *ukiya* (about 70 g) has been used as a unit of weight until recently. This al-Andalus Umayyad standard (*mithqal*) was used by merchants to check 20-*ukiya* weights.","fr":"L’ouqiya (70g environ) est demeurée une unité de poids de base jusqu’à une date récente. Cet étalon (mithqal) omeyyade (d’al-Andalus) servait à contrôler les poids de 20 ouqiya utilisés par les marchands.","es":"La *ukiya* (alrededor de 70 g) se usó como unidad de masa hasta hace poco. Los mercaderes usaron este estándar omeya de al-Andalus (mizqal) para verificar el peso de 20 *ukiyas*."}}],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"}],"languages":["ar","en","es","fr"]},{"id":"e9446de8-0118-5c68-aa90-cc7965c9040a","type":"monument","internal_name":"Nilometer.","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"bc3696f3-8f77-5a5a-8d83-cb8445448b36","country_id":"egy","owner_reference":null,"mwnf_reference":"ET 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هذه القطعة إلى العصر الأموي وتتميز ايضا بالنقش الكوفي.","en":"This piece from the Umayyad period is also characterised by *kufic* inscriptions.","fr":"Ce chapiteau de colonne issu de la période omeyyade est également caractérisé par des inscriptions coufiques.","es":"Esta pieza del periodo omeya también se caracteriza por las inscripciones cúficas."}},{"id":"60137658-1077-54a3-a33c-f070301a21b6","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"تتشابه الأقواس المدببة هنا مع الأقواس التي استخدمت في مقياس النيل.","en":"Pointed arches here are similar to those used in the Nilometer.","fr":"Nous trouvons ici des arcs brisés similaires à ceux utilisés dans le Nilomètre.","es":"Estos arcos puntiagudos son similares a los utilizados en el Nilómetro."}},{"id":"bc31e6e4-7f37-5725-b63d-89472dbadb64","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01:11","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"تعود هذه القطعة إلى العصر العباسي وتتميز ايضأ بالنقش الكوفي.","en":"This piece from the Abbasid period is also characterised by *kufic*inscriptions.","fr":"Ce fragment de coupe en terre cuite issu de la période abbasside est également caractérisé par des inscriptions coufiques.","es":"Esta pieza del periodo abbasí también se caracteriza por las inscripciones cúficas."}}],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"}],"languages":["ar","en","es","fr"]},{"id":"69a91c1d-a3b0-5106-9135-ad44679f9576","type":"monument","internal_name":"Nilüfer Hatun Imaret.","backward_compatibility":"mwnf3:monuments:ISL:tr:Mon01:18","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"82e0c8bb-760e-5b14-85e8-24c1bd555bc6","country_id":"tur","owner_reference":null,"mwnf_reference":"TR 27","start_date":1350,"end_date":1400,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/6ea0b13b-c4f2-5236-bc18-3a968daf2034.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/ec789499-8cf4-5c2f-92dc-e57377a4ee44.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/1d162ca7-7b45-5451-8fdd-44c144dc6b43.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/a5d5f53e-54c5-5fa7-8740-ba66cc092101.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":[],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["069e3a86-9304-50ec-85c5-b13302126d14","0f3fb66d-a491-591b-a0c2-56e11ec481aa","1123d155-1d0c-59e5-8ecc-ca1e2b7a31e9","389ffbb1-3a7e-5ec3-a9fc-efdd3e0f54ca","455c1318-16a9-50f2-9c44-6643a9de238c","665383f5-4a15-5f32-8010-a19d807b45a5","76676210-58c4-5de1-89e6-594e4175ceac","a95bf8cd-02b1-5d88-b68d-c21999469de6","aea62142-bf4f-5655-8c52-b1e856151ce7","b3b18f28-32c7-5836-ae64-e0df239443e1","c39cd815-3b51-5b89-a4e4-5e9f2c0ca622","d92f6fd0-31e4-5a3e-a04f-1708743e899b","e7f7d170-9ce3-5eb5-8c00-b201155164d8"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["en","es","fr","tr"]},{"id":"1a0d6f2a-0a7e-5fdf-98b4-9f6cc792909b","type":"monument","internal_name":"Norias (*nawa’ir*) of Hama.","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:32","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"580d4203-2fdf-5800-bff6-a6e45724577a","country_id":"syr","owner_reference":null,"mwnf_reference":"SY 40","start_date":1100,"end_date":1600,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/812ac332-a273-594a-aa19-43c3b7218dad.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/220bc212-0fd5-559a-9416-5f875492bf8d.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/d164300c-26e8-5176-ba3e-46a7cd18d739.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/5931dc11-a75f-546f-bcaa-139fd71ddcf2.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/ba71f717-a1b0-5112-a19c-5436d1fb4bff.jpg","display_order":4,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/ce1bd1ea-c58a-5092-ba84-d519a018ba7d.jpg","display_order":5,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/5d28d6ed-640d-55b0-973e-b5bf9c793675.jpg","display_order":6,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/3f61bf17-ae4c-5af1-a5e7-5b8b0c6471de.jpg","display_order":7,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/7c6d894a-db97-5244-87a9-dcb2f9093360.jpg","display_order":8,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/ffdfa2ca-9267-5f21-8f68-6673cbbefac2.jpg","display_order":9,"alt_text":null,"captions":{},"photographer":"Muhammad al-Roumi","copyright":null},{"url":"https://inventory.metanull.eu/pub/068686d8-8ed1-5925-a8c6-868abb7787b3.jpg","display_order":11,"alt_text":null,"captions":{},"photographer":"Zishan Sheikh","copyright":null}],"tag_ids":[],"dynasty_ids":["2fc256bd-66da-5cb4-b5ca-43283018a1db","b812e3d9-24d7-5ef1-bfc7-8031d0fa5144","cc058ff2-1729-58a0-be91-e1ac612c1fe2","f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["070e713b-f503-5f87-be41-16cb73c070b4","0f3fb66d-a491-591b-a0c2-56e11ec481aa","1967d28e-68f6-5e68-b680-9a66e81477fb","2003ec95-a720-51cb-9dcd-774d9dc9f389","76676210-58c4-5de1-89e6-594e4175ceac","78098713-2d8f-5314-b786-0c0cdd7710a0","811580e5-c0b8-5c27-8c10-3a3a36bee143","a95bf8cd-02b1-5d88-b68d-c21999469de6","aa9eeba9-8ad8-555a-8988-13c068bdac81","c2953466-916b-57e9-9f3b-409c9af9afa1","c77b27a2-a0b9-5b4b-903b-008ba93b0842","d741661c-846f-560d-a11c-19720819ac9a","e99f9b90-c624-5aa1-815f-a47f478f7da3","f21a9ff0-ae8f-5ff9-be18-36b4a4db6794"],"artist_names":[],"media":[],"related_items":[{"id":"3097847c-f8ed-51cf-95df-cdaec2b9893a","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"البيمارستان القيمري كان يغذى بالماء من نواعير من فرع يزيد لنهر بردى الذي يمر تماما خارج نوافذه.","en":"Bimaristan al-Qaymari was supplied by a small noria from the Yazid branch of the Barada River which runs just outside its windows.","fr":"Le *bimaristan* al-Qaymari était approvisionné par une petite noria alimentée par le bras Yazid de la rivière Barada qui court juste sous ses fenêtres.","es":"Al bimaristan al-Qaymari llegaba el suministro agua procedente de una pequeña noria que se surtía del afluente de Yazid del rio Barada que se observaba desde sus ventanas."}},{"id":"39548f51-03b2-558c-9e39-2e9427feaf5c","backward_compatibility":"mwnf3:objects:ISL:uk:Mus02:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"حوض من الرخام رعاه الحاكم الأيوبي لحماة منصور الثاني ربما يستخدم للعموم في المسجد و تغذية الماء تتم بواسطة الماء الآتي من نواعير حماة.","en":"A marble basin that was sponsored by the Ayyubid ruler of Hama, Mansur II, probably for public use at a mosque. The water supply was provided by water from the Nawa’ir of Hama.","fr":"Vasque en marbre dont le mécène fut le souverain ayyoubide d’Hama, al-Mansour II, sans doute pour un usage public dans une mosquée. L’alimentation en eau était assurée par l’eau du Nawa’ir de Hama.","es":"Una pila de mármol que fue auspiciada por el gobernador ayubí de Hama, Mansur II, posiblemente para uso público en la mezquita."}},{"id":"96cf4210-b3bc-5e9b-8016-56c054beba7c","backward_compatibility":"mwnf3:objects:ISL:uk:Mus04:10","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"الجرار مثل هذه كانت شائعة خلال العهد الأيوبي              و الخطوط المتعرجة تمثل نهرا.","en":"Jars such as this were popular during the Ayyubid period; the zigzag lines possibly represent a river.","fr":"Des jarres comme celle-ci étaient courantes durant la période ayyoubide ; les lignes en zigzag représentent sans doute une rivière.","es":"Jarras como esta fueron populares durante el periodo ayubí, con líneas en zigzag que probablemente representaban un 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عشاق باشا هو مثال آخر على قصر عثماني خاص و هو يقع في قلب الأراضي العثمانية.","en":"Ishak Pasha Palace is another example of a late Ottoman private palace, this one located in the Ottoman heartland.","fr":"Le palais d’Ishak Pacha est un autre exemple de palais privé de la période ottomane tardive, celui-ci étant situé à l’intérieur du pays ottoman.","es":"El palacio de Ishak Pasha es otro ejemplo de un palacio privado otomano de época tardía, este en concreto situado en el corazón del imperio otomano."}},{"id":"a248d8b4-e492-5f6d-bdb7-ab94d668d922","backward_compatibility":"mwnf3:objects:ISL:de:Mus01:39","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"ألواح الخشب من غرفة الاستقبال  لبيت في حلب تظهر نوعا مختلفا من التزيين الداخلي المستخدم للقصور العثمانية الخاصة.","en":"The wooden panelling from the reception room of a house in Aleppo shows a different kind of interior decoration used for private Ottoman palaces.","fr":"Le lambrissage en bois 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على بلاطة  أصلية من إزنيق التي أنتجت بلاطات مماثلة لها من طراز إزنيق  و لكن محليا في دمشق.","en":"An example of an original Iznik tile after which tiles were produced in the Iznik style but locally in Damascus.","fr":"Exemplaire original d’un carreau d’Iznik d’après lequel des carreaux furent fabriqués dans le style d’Iznik mais localement à Damas.","es":"Un ejemplo de un azulejo originario de Nicea después del cual los azulejos se elaboraron con el estilo de Nicea, pero producidos localmente en Damasco."}},{"id":"5691ad24-fe0c-597d-8ca1-206be34877d4","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01:39","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"استخدام اللوحات لتزيين المساجد كان شائعا خلال الفترة العثمانية  و العديد منها صنعت محليا في دمشق.","en":"The use of tile panels to decorate mosques was common during the Ottoman period, many of which were produced locally in Damascus.","fr":"L’usage de panneaux de carreaux pour décorer les 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Roca."}},{"id":"bdeda37e-0f4a-5fd6-ad87-d9dacdb11131","backward_compatibility":"mwnf3:monuments:ISL:pa:Mon01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"لإيواء الحجاج في القدس فإن بناءا مشابها للتكية السليمانية بني من قبل زوجة السلطان سليمان التي تدعى خاصكي حرم السلطان.","en":"To accommodate the pilgrims in Jerusalem, a construction similar to Takiyya al-Sulaymaniyya was built by Sultan Sulayman’s wife, Haseki Hurrem Sultan.","fr":"Pour héberger les pèlerins à Jérusalem, un édifice similaire à la *takiyya* al-Sulaymaniyya fut construit par la femme du sultan Soliman, la sultane Haseki Hürrem.","es":"La esposa del sultán Süleyman Haseki Hürrem Sultan comisionó una construcción similar a Takiyya al- Süleymaniye para alojar a los peregrinos en 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