@museumwnf/toys-games-data 1.0.3 → 1.0.5

package/items.json

@@ -1 +1 @@
-[{"id":"d1a1829f-11e0-56f9-9315-ca94e69bdac5","type":"object","internal_name":"A tumbrel with knockers","backward_compatibility":"mwnf3:objects:GALLERIES:tr:Mus04:4","project_id":"a0817323-79ca-53fc-95ac-9f65ee2fcbac","partner_id":"71ca5109-9020-572c-ba08-de39cf6a95a0","country_id":"tur","owner_reference":"41","mwnf_reference":"TR1_GAL_004","start_date":1963,"end_date":2013,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/f1d7537a-35ba-505b-9f8b-7231a1826176.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Ankara Toy Museum"}],"tag_ids":["b59fc744-962c-54ef-a0a3-3afe199c94a2","7930a765-86fd-531e-9400-dc758a55fa0a"],"dynasty_ids":[],"glossary_ids":[],"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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الأوسط و يستخدم من أجل علب المجوهرات و أيضا كحجارة شطرنج.","en":"Ivory from Africa was traded to the Mediterranean and used for caskets as well as for chess pieces.","fr":"Le commerce de l’ivoire de l’Afrique vers la Méditerranée pourvoyait à la réalisation de coffrets aussi bien que de pièces d’échec.","es":"El marfil de África era comercializado en el Mediterráneo y utilizado tanto como para fabricar arquetas como piezas de ajedrez."}},{"id":"82b94cbd-2d0b-5dfc-9ce7-0ed3a9e2e7be","backward_compatibility":"mwnf3:monuments:ISL:it:Mon01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"يمكن افتراض أن لعبة الشطرنج كان تمارس في الدولة الفاطمية و القصور النورمندية في جنوب إيطاليا مثل قطعة الشطرنج التي تظهر هنا.","en":"It can be assumed that the game of chess was played in Fatimid and Norman palaces in Southern Italy such as this one.","fr":"On peut supposer qu’on jouait aux échecs dans les palais fatimides et normands de l’Italie méridionale tels que celui-ci.","es":"Es de suponer que se jugaba al ajedrez en los palacios fatimíes y normandos del sur de Italia como este."}},{"id":"e7f528ce-cc22-5805-85cd-54b2590d990f","backward_compatibility":"mwnf3:objects:ISL:uk:Mus01:46","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"قطعة الشطرنج هذه من لعبة مختلفة و لكن أيضا من جنوب إيطاليا تشير للانتشار الواسع لاستخدام أحجار الشطرنج العاجية.","en":"This chess piece from a different game but also from Southern Italy hints at the widespread use of ivory chess pieces.","fr":"Cette pièce d’échec provenant d’un autre jeu, mais également d’Italie du Sud, témoigne du vaste usage de ces pièces d’échec.","es":"Esta pieza de ajedrez que pertenece a un juego diferente pero también procedente del sur de Italia, indica el uso recurrente de piezas de ajedrez de 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Les deux pièces doivent avoir appartenu à un très grand et très onéreux jeu d’échecs."}}],"gallery_references":[{"id":"f08b46b3-1d48-51a9-ab26-616b903fd6ea","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:20","kind":"gallery","slug":"ivory","legacy_host":"https://ivory.museumwnf.org","name":"Ivory"}],"languages":["ar","en","es","fr"]},{"id":"72a4f210-e9af-568c-82cb-538110bc11c0","type":"object","internal_name":"City bus","backward_compatibility":"mwnf3:objects:GALLERIES:tr:Mus04:6","project_id":"a0817323-79ca-53fc-95ac-9f65ee2fcbac","partner_id":"71ca5109-9020-572c-ba08-de39cf6a95a0","country_id":"tur","owner_reference":"337","mwnf_reference":"TR1_GAL_006","start_date":1944,"end_date":1994,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/a96a2f86-476e-5474-a369-8309a07b6d2d.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Ankara Toy 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package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "@museumwnf/toys-games-data",
-  "version": "1.0.3",
+  "version": "1.0.5",
   "type": "module",
   "private": false,
   "description": "Static data export for toys",
@@ -19,9 +19,5 @@
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     "npm": ">=8.0.0"
-  },
-  "repository": {
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-    "url": "https://github.com/museumwithnofrontiers/inventory-app"
   }
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package/translations/items.ar.json

@@ -1 +1 @@
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.","short_description":"يجسد هذا التمثال الصغير ذو الشكل الرافدي راقصة منحوتة بدقة من العاج المصمت؛ وتوفر بنية من الخشب بعض الصلابة لهيكله؛ ويمكن أن نقارنه بالعديد من التمثيلات المماثلة المزينة للصحون الفخارية أو للقطع المصنوعة من الجص.","holder":"متحف الرباط؛ المنتسير.","initial_owner":"حسان حسني عبد الوهاب.","dates":"القرن 3 الهجري/ القرن 9 الميلادي.","location":"المنتسير.","dimensions":"الطول: 81 سم؛ العرض: 4.5 سم.","method_for_datation":"تنطوي عدة تصويرات إنسانية إيرانية، يمكن تأريخها في القرن 3- القرن 4 الهجري/ القرن 9 - القرن 10 الميلادي، على تشابهات مؤكدة مع الدمية المصرية. ومن المرجح جداً أنها قطعة مستوردة من منطقة بلاد الرافدين إبان العصر الطولوني، أو أنها نسخة منفذة وفق النموذج الشرقي.","method_for_provenance":"تشابهات أسلوبية.","obtention":"قام المرحوم حسان حسني عبد الوهاب بشراء هذه القطعة في عام 1958 من بائع مصري للقطع الأثرية، وقدمها كهبة إلى متحف الرباط في المنتسير خلال العام نفسه.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Ghada al-Houssein","translation_copy_editor":"Ahmed S. Ettahiri","keywords":["العاج","دمية","راقصة.","زخرفة تصويرية","نحت"],"materials":["عاج","هيكل خشبي."]},"965d893b-685b-5fcf-8f0b-b3d64f9e1987":{"name":"قطعة شطرنج","short_description":"هذه قطعة شطرنج (فيل) ممثلة بشكل تجريدي بنابين قصيرين - ولا بد أن هذه القطعة كانت جزءاً من مجموعة كبيرة وباهظة الثمن. الشطرنج لعبة شائعة، انتشرت بسرعة من الهند إلى جميع أنحاء العالم الإسلامي. في ذلك الوقت، كان الشطرنج يُلعب حصرياً في البلاط الملكي ودوائر النبلاء، ونتيجةً لذلك، كانت القطع تُصنع في الغالب من مواد نادرة وثمينة مثل العاج.","type":"عاج","holder":"متحف القن الإسلامي (MIA)","dates":"القرنان الخامس والسادس الهجريان / القرنان الحادي عشر والثاني عشر الميلاديان","location":"الدوحة","dimensions":"الارتفاع:8.5  القطر:7.6 العمق:-","provenance":"إيطاليا، صقلية","obtention":"مجموعة أوروبية خاصة  \nدار سوثبيز للمزادات، لندن، أعمال فنية إسلامية، 30 أبريل 1998، رقم المزاد LN8265، المجموعة 1، متاحف قطر","bibliography":"Greenwood, William J. and Chagari, Salam, *Kings & Pawns: Board Games from India to Spain*, Doha: Akkadia Press, 2014.  \nRosser-Owen, Mariam, *Ivory. 8th to 17th centuries. Treasures from the Museum of Islamic Art*, Doha: National Council for Culture, Arts and Heritage, 2004.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","author":"Tara Desjardins","keywords":["إيطاليا","النورماندي","شطرنج","صقلية","عاج"],"materials":["تحزيز","تذهيب","ترصيع","رسم","صباغ","عاج","نحت"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"تمثال حصان","short_description":"تمثال حصان من الفخار، ربما كان لعبة، مغطى ببطانة كريمية اللون وعليه رسوم باللونين الأسود والبني تحت طلاء التزجيج الشفاف.","holder":"دار الآثار الإسلامية","dates":"القرن 4 هـ \\ 10 م","location":"مدينة الكويت","provenance":"شرق بلاد فارس"},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"قطعة شطرنج.","description":"قطعة شطرنج مستديرة وكبيرة منقوشة بدوائر متحدة المركز ونقاط وخطوط، ويبدو أن هذه القطعة كانت تمثل الملك أو الوزير. نشأت لعبة الشطرنج في الهند ووصلت إلى فارس (إيران) خلال الفترة الساسانية في القرن الأول/ السادس، وظهرت المشاركات العربية في الشطرنج أواسط القرن الثالث/ التاسع عشر، ومن العالم العربي، وصلت اللعبة إلى الغرب حيث كان تصنيع القطع يتم حسب الأشكال الإسلامية. يبدو أن هذه القطعة كانت جزءاً من مجموعة رائعة، وهناك قطعة شبه مطابقة لهذه القطعة في متحف الفن الإسلامي في برلين. شجع الفاطميون في مصر تصنيع الأدوات الكمالية من العاج، وبعد سيطرة الفاطميين على صقلية في أوائل القرن الرابع/ العاشر، انفتح المجال أمام الحرفيين المسلمين للسفر إلى صقلية مما أدى إلى نقل الأسلوب الفاطمي في الرسم والزخرفة إليها، وقد استمر فيها حتى بعد أن سيطر النورمان على الجزيرة عام 477/ 1085.","short_description":"بدأت لعبة الشطرنج من الهند، ولكن سريعاً ما انتشرت في العالم الإسلامي. هذه القطعة العاجية الكبيرة الحجم نسبياً، تعود إلى مجموعة فخمة صُنعت خصيصاً لشخص مهم في القصر الملكي الفاطمي.","holder":"المتحف البريطاني.","dates":"القرن الرابع-الخامس/ القرن العاشر أو الحادي عشر.","location":"لندن.","dimensions":"الارتفاع 5.6 سم؛ القطر 5.1 سم.","method_for_datation":"يرتبط شكل هذه القطعة ومادة تصنيعها بقطع أخرى مصنوعة في مصر الفاطمية في القرن الرابع أو الخامس/ العاشر أو الحادي عشر. ونظراً للتشابه في الشكل مع قطعة شطرنج تمثل الملك أو الوزير مصنوعة من حجر الكريستال في متحف فيكتوريا وألبرت، وهي تعود لأوائل القرن الرابع/ العاشر، فالأغلب أن هذه القطعة العاجية معاصرة لها.","method_for_provenance":"تم تصنيع هذه القطعة على الأغلب في مصر أو صقلية الفاطمية في القرن الرابع-الخامس/ العاشر- الحادي عشر.","provenance":"مصر أو صقلية.","obtention":"تم شراؤها عام 1862.","bibliography":"Contadini, A., 'Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum', in “Islamic Art in- the  \n.Ashmolean Museum: Oxford Studies in Islamic Art”, Oxford, 1995  \n\\-.Phillips, T., (ed.), 'Africa: The Art of a Continent', London, 1996, pp.582–3, cat. no. 7.49","author":"Emily Shovelton","copy_editor":"Mandi Gomez","translator":"Hazar Emran","translation_copy_editor":"Abbas Abbas","materials":["عاج."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"حجر شطرنج.","description":"لقد نشأت لعبة الشطرنج على الغالب في الهند وانتقلت عبر بلاد فارس الساسانية إلى العالم الإسلامي. وقد تميز العرب بصنعهم لأشكال مجردة لحجارة الشطرنج كهذا الحجر. وقد كانوا يصنعونها من مواد ثمينة كالعاج مثلاً. كذلك استخدمت مواد أخرى مثل الكوارتز. وقد وُجد العديد من حجارة الشطرنج المصنوعة من هذا البلور الصخري في ذخائر الكنائس الأوروبية.  \nويعتبر هذا الحجر من القطع المميزة بسبب حجمه الكبير فقد احتاجت صناعته إلى ناب كامل من النوعية العالية ووجب استخدام الكتلة القيّمة من الناب كلها. ويعتقد أن الذي طلب صنع حجارة شطرنج بهذا الحجم، لابد أن يكون من عليّة القوم.  \nلحجر الشطرنج هذا شكل أسطواني قصير وسميك، وله قمة مستديرة وقاعدة على شكل زر، وينتمي حجر الشطرنج هذا، من حيث شكله، إلى مجموعة حجارة اللعب المجرّدة، وربما كان هذا الحجر يمثل الشاه (الملك)، فالزخرفة ملفتة للنظر، وهناك في وسط الحجر وعلى جانبيها الأمامي والخلفي وكذلك على سطحها الأعلى زخارف على شكل صلبان وشبيهة بالزهور والبراعم. ويحيط بالجسم زخرفات على شكل أشجار، أما على السطح الأعلى فتحيط به صلبان ومثلثات صغيرة. وتتكون هذه الزخرفة من نقط وحفر مستديرة. ويتميز السطح السفلي بوجود ثلاث حفر مملوءة بالرصاص، أما سبب ذلك فليس واضحاً وربما كان لإعطاء ثقل إضافي للحجر من أجل ثباته.  \nمما يلفت النظر تكرار الزخرفة المصوغة على شكل صلبان، ويرجح أن هذا الحجر قد صنع في صقلية. أما من ناحية الشكل العام فإن هذا الحجر مصنوع وفق التقليد العربي المجرد لصناعة أحجار اللعب والذي استمر في جنوب إيطاليا إلى القرن الثاني عشر الميلادي.","short_description":"في البلدان الإسلامية كانت لعبة الشطرنج تُلعب ببيادق بالغة الإتقان، مثل تمثال الشاه هذا. فهذا البيدق العاجيّ المُزيَّن بسلسلة من الدوائر، مأخوذ من جنوب إيطاليا، أو صقلية، تلك المنطقة التي كانت ذات يوم جزءاً من الدولة الفاطمية، وعميقة التأثر ـ بالتالي ـ بالثقافة الإسلامية.","holder":"متحف الفن الإسلامي","dates":"القرن الرابع – الخامس / القرن الحادي عشر – الثاني عشر.","location":"برلين","dimensions":"الارتفاع: 7 سم؛ القطر: 6.4سم.","method_for_datation":"هناك أحجار شطرنج مشابهة يقدر تاريخها في القرن الحادي عشر- الثاني عشر الميلادي بسبب زخرفتها التي تتشكل من نقاط مستديرة، لأن استخدام هذه الزخرفة كانت نموذجية لبعض القطع الفنية في جنوب إيطاليا في تلك الفترة.","method_for_provenance":"ثمة أحجار شطرنج مشابهة و زخرفة مشابهة أيضاً موجودة على العلب العاجية تعود إلى جنوب إيطاليا أو صقلية.","provenance":"جنوب إيطاليا أو صقلية.","obtention":"من تجارة القطع الفنية 1925.","bibliography":"\\- ,Wichmann, S. und H., *Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten*  \n.München, 1960, 282 Nr. 5, Abb. 5  \n\\- .Kat. *Chess: East and West, Past and Present*, New York, Metropolitan Museum of Art, 1968  \n\\- .Kühnel, E., *Die islamischen Elfenbeinskulpturen VIII.-XIII.Jh.*, Berlin, 1971, Nr. 9 Taf.V  \n\\- ,Contadini, A.,Islamic Ivory Chess Pieces, Draughtsmen and Dice, in: *Islamic Art in the Ashmolean Museum  \n.Part One*, J.Allan Ed., Oxford Studies in Islamic Art X, Oxford 1955, 111-54 Fig. 54  \n\\- Kluge-Pinsker, A., *Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer  \n.Zeit*. Sigmaringen, 1991, 50 - 4 Abb. 27","author":"Jens Kröger","translator":"Hani Saleh","translation_copy_editor":"Abbas Abbas","keywords":["حجر شطرنج","صقلية","عاج","كوارتز","لعبة شطرنج."],"materials":["رصاص.","عاج"]},"fc54f94b-2c73-539f-9c72-9e5bbc3cae2d":{"name":"لوح نرد مطوي","short_description":"اللوح الكلي مصنوع من ثلاثة لوحات جزئية من جوانب خشبية متمفصلة ذات أرجل مفصصة التي تتشابك عندما تطوى لتشكيل صندوق مستطيل. والتزيين الرئيسي على السطح الرئيسي مكون من رصائع ذات أشكال مختلفة تحيط  بزوج (رجل وامرأة ) بلباس أوربي وزوج يرتديان ثوبان إيرانيان وامرأة ترضع طفلا. وقد شكلت المجموعة حول باقة من الأزهار ضمن حدود غنية. والتزيين الرئيسي نسب لرسام من البلاط هو محمد حسن الذي عمل بشكل أساسي في أعمال زيتية. وهو معروف بأنه قد رسم منمنمة لفتح علي شاه وهو جالس على العرش في عام 1234 هجري ( 1818 -19 ) ميلادي.","type":"لوحة نرد ، لعبة ، لوح لعب ، لوح محمول ، لوح مطلي باللكر","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"بداية القرن التاسع عشر","location":"لندن","dimensions":"69 × 45 × 11.2 سم (مفتوح ) ، 49 × 16.4 × 16.8  سم (مطوي)","method_for_datation":"تاريخ ومكان صنع القطعة يعتمدان على أسس الطراز","provenance":"إيران","bibliography":"Khalili, N.D., Robinson, B.W., and Stanley, T., *Lacquer of the Islamic Lands*, London: The Nasser D. Khalili Collection of Islamic Art, volume 22, Part One, 1996: cat.131, pp.178–9. Mackenzie, C., and Finkel, I. (eds), *Asian Games: The Art of Contest*, New York: Asia Society, 2004, no.7:6, 93.Rogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.470, pp.386–7.","translator":"Ahmad Bassel Radwan","keywords":["أعمال لكر","إيران","قاجاري","لون مائي","نرد"]}}
+{"1253b43a-cd2e-5d3d-839d-a3df5d64f832":{"name":"لوح ألعاب","short_description":"القطع الخشبية الفاخرة – الأثاث و المفروشات وأيضا العناصر المعمارية والتطعيم بالمواد النفيسة مثل العاج ، خشب الأبنوس والفضة والذهب وعرق اللؤلؤ والصدف الفيروزي  كانت تنتج بكميات محدودة للبلاط العثماني بدءا من القرن السادس عشر ولوح الألعاب النادر والرائع هذا من النصف الأول للقرن العاشر /السادس عشر من مجموعة متحف لوس أنجلس للفنون يعطي مثالا رائعا لهذا الوسط وعندما يفتح فإنه يعطي نرد مطعم بالعاج وخشب الأبنوس مع تفاصيل من الفضة والفسيفساء الدقيقة وعندما يغلق يعطي فرصتي لعب أخريين بما فيها لوحة شطرنج مطعمة بالعاج وخشب الأبنوس.","type":"أدوات وتجهيزات","holder":"متحف مقاطعة لوس أنجلس للفن","dates":"تقريبا 936-956 هجري /تقريبا 1530-1550 ميلادي","location":"لوس أنجلس","dimensions":"وهي مغلقة : 45.72 ×34.29 × 2 1/8 سموهي مفتوحة : 46.36 × 67.95 ×2.54 سم","method_for_datation":"التزيين بالعاج والفسيفساء الدقيقة المطعمة ترتبط بشكل وثيق بتطعيم مشابه على الأثاث الخشبي والفرش التي يعود تاريخها إلى أو القابلة لأن تؤرخ في الربع الثاني من القرن العاشر /السادس عشر خلال عهد السلطن سليمان ( 926 - 972 هجري / 1520- 65 ميلادي).","method_for_provenance":"الوسط والتقنية – خشب مع عاج ، آبنوس ، فضة وتطعيم بالفسيفساء الدقيقة يعني أن أصل القطعة عثماني بينما الطراز التزييني يرتبط بشكل وثيق فقط بالقطع الخشبية المطعمة والبلاطات والأقمشة وتذهيب المخطوطات والمشغولات المعدنية.","provenance":"تركيا","obtention":"مجموعة خاصة ، فرنسا ، تقريبا 1960s ، مجموعة خاصة ، إنجلترا ، التواريخ مجهولة .  شركة نيكولاس شاو  Nicholas Shaw للفنون الجميلة المحدودة حتى 2007 ( بيعت إلى) LACMA بواسطة تمويل مقدم من كاميليا شاندلدر فروست Camilla Chandler Frost.","dynasty":"العصر العثماني","translator":"أحمد باسل رضوان","keywords":["حياة البلاط ، لعبة ، ألعاب تقليدية ، الأزمنة الغابرة ، خشب ،عاج ، تطعيم ، شطرنج ، نرد ،طاولة"],"materials":["خشب مطعم داخليا بالعاج ، الأبنوس والفضة"]},"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9":{"name":"مجموعة مسرح عرائس نمساوية : \"\" القافلة إلى مكة. التوقف في الصحراء من قبل ترينتسنسكي .","short_description":"هذه اللعبة المسرحية ذات المشهد الطبيعي الصحراوي في خلفيتها والأشكال المقصوصة على الحوامل الخشبية تستخدم تفاصيل معقدة وخيال لتصور توقف قافلة الحج. بواسطة 45 شكلا (شخصا ) مقصوصا وبعلبة أصلية صنعت المجموعة من قبل ماتياس ترينتينسكي Matthias Trentensky (1790 – 1868) وهو ضابط جيش متقاعد وخبير في الطباعة الذي أصبح الصانع الأول للإمبراطور لألعاب مسرح العرائس . والمسارح المصغرة التي تستند لمسرحيات شعبية كانت شائعة  في القرن التاسع عشر بشكل خاص في أوربا بالرغم من أن هذا المسرح ربما قد أنتج نتيجة لزيادة الإعجاب بالعالم العربي في ذاك الوقت. ومن المحتمل أن الفنان هو تيودور جاشيموفيزيتش Theodor Jachimovicz الذي درس الرسم في أكاديمية الفنون الجميلة في فينا وعمل كرسام لخشبة المسرح في صالة الأوبرا الحكومية وقد صدر ترينتسنسكي دمى المسرح التي أنتجها لإنجلترا عن طريق شركة في لندن هي   A&S Joseph Myers and Co التي مقرها 144 شارع ليدنهول ، وهم مصدرين للبضائع وتجار ألعاب من صنع فرنسا ، ألمانيا ، سويسرا وإيطاليا. وقد قيل بأن الألعاب المنتجة لصالح لندن يمكن أن تكون ذات جودة أفضل من تلك الموجهة للسوق النمساوية. والمسارح الأخرى التي أنتجت لصالح A&S Myers تضمنت تلك المرتبطة بشكل وثيق بالمواضيع الإنجليزية مثل البانتوماين المعاصر. والمجموعة أيضا تحوي شكل غير مقصوص للمسرح وهي مجموعة كاملة من 24 لوحة ذات 168 صورة.","type":"لعبة مسرح عرائس","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"حوالي بداية 1800s  ميلادي","location":"لندن","dimensions":"ARC.mx 570 علبة : 21 ×  27.5 سم ، ARC.pt 401 : 25 × 40 سم","method_for_datation":"بدأ ترينتسنسكي الطباعة بالحفر في عام 1815.","provenance":"أوربا","author":"Qaisra Khan","translator":"أحمد باسل رضوان","keywords":["جمل ، أطفال ، طفولة ، جغرافية ، الحج ، الحجاز ، مكان مقدس ، الكعبة ، المدينة ، مسجد ، ورق ، الحج ، صلاة ، النبي محمد ، قرآن ، دين ، مسرح ، سفر ، مسافر ، مكة"],"materials":["لوحة ورقية"]},"69a6a526-4050-5ca0-8cb5-fc33c761bad0":{"name":"شكل بنموذج من السكر : شكل عروس لمولد النبي","short_description":"لمدة ألف عام تقريبا في الأرض على طول نهر النيل فقد كان يحتفى بمولد النبي بواسطة بضائع مصنوعة من السكر والحلوى المصنوعة من المكسرات والعسل. وفي القاهرة يبيع التجار تشكيلة من الأشكال المصنوعة من السكر والملفوفة بالورق الملون وهذه شائعة بشكل خاص لدى الأطفال. والبنات  يتلقين حلوى بشكل عرائس \"\" عروسة المولد\"\" ملونة بشكل ناصع وفي عقد 1970 فقد انتجت عرائس المولد في القاهرة في ورشات خاصة باستخدام نماذج خشبية من جزئين. وفي الفناءات الخلفية المغلقة العديد من الفتيات الصغيرات زينت العرائس والتي كانت قطع مقولبة مجففة ومزخرفة بالسكر بملابس  وإكسسوارات ملائمة من ورق قماشي.والعرائس كن يجلبن للبيع سيرا على الأقدام أو على دراجة هوائية حيث يحمل البائع خمسين إلى مائة قطعة تنقل على صواني خشبية وبشكل مستقل عن زخرفة الأشكال يعتمد السعر على وزن ونوعية السكر.","type":"دين","holder":"متحف العالم ، فينا","dates":"1978","location":"فيينا","dimensions":"الطول : 30 سم ، العرض : 13 سم ، الارتفاع : 39 سم","method_for_datation":"المادة موجودة في دفتر الجرد العام والوثائق الأرشيفية","method_for_provenance":"المادة موجودة في دفتر الجرد العام","provenance":"مصر ، القاهرة","obtention":"تصنيف الكاتالوك : \"\" أشتريت من الدكتور بيتر و. شينيريل ، القاهرة ، 1978.\"\"","bibliography":"Steinmann, Axel, \"\"Ephemera\"\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","translator":"أحمد باسل رضوان","materials":["سكر ، ورق ، سلك ، غلاف ورقي"]},"8845579c-c381-5bae-bc18-01294691208f":{"name":"دمية على هيئة راقصة.","description":"يظهر أن الدمية تمثل راقصة، يغلب على الظن أنها كانت تستخدم كلعبة. الشعر أسود اللون غير منتظم. الوجه مدور، ويبدو غير متناسق مقارنة مع باقي الجسد. العينان بارزتان، والأنف دقيق جداً. الرقبة طويلة نسبياً وحجمها ضخم. الثدييان كبيران نوعاً ما، بينما البطن الأهيف جداً مشار إليه بأخدودين متراصين فوق بعضهما. أعضاء الدمية العلوية مبتورة، أما أعضاؤها السفلية فينقصها القدمان، ويغطيها سروال من الطراز الشرقي.  \nإن هيكل الدمية، الذي تم إدخال بنية خشبية إلى داخله بغية تأمين بعض الصلابة له، مصنوع من العاج المصمت. الدمية مجسمة بدقة كبيرة لكنها غير متناسقة. وسمات الوجه رافدية بشكل نموذجي، وتشبه عدة تصويرات مماثلة لها على أطباق من الخزفيات أو على قطع من الجبس .","short_description":"يجسد هذا التمثال الصغير ذو الشكل الرافدي راقصة منحوتة بدقة من العاج المصمت؛ وتوفر بنية من الخشب بعض الصلابة لهيكله؛ ويمكن أن نقارنه بالعديد من التمثيلات المماثلة المزينة للصحون الفخارية أو للقطع المصنوعة من الجص.","holder":"متحف الرباط؛ المنتسير.","initial_owner":"حسان حسني عبد الوهاب.","dates":"القرن 3 الهجري/ القرن 9 الميلادي.","location":"المنتسير.","dimensions":"الطول: 81 سم؛ العرض: 4.5 سم.","method_for_datation":"تنطوي عدة تصويرات إنسانية إيرانية، يمكن تأريخها في القرن 3- القرن 4 الهجري/ القرن 9 - القرن 10 الميلادي، على تشابهات مؤكدة مع الدمية المصرية. ومن المرجح جداً أنها قطعة مستوردة من منطقة بلاد الرافدين إبان العصر الطولوني، أو أنها نسخة منفذة وفق النموذج الشرقي.","method_for_provenance":"تشابهات أسلوبية.","obtention":"قام المرحوم حسان حسني عبد الوهاب بشراء هذه القطعة في عام 1958 من بائع مصري للقطع الأثرية، وقدمها كهبة إلى متحف الرباط في المنتسير خلال العام نفسه.","dynasty":"الفترة العباسية","author":"Mourad Rammah","copy_editor":"مارجوت كورتز","translator":"غادة الحسين من: اللغة الفرنسية","translation_copy_editor":"(من: الفرنسية).احمد الطاهري","keywords":["العاج","دمية","راقصة.","زخرفة تصويرية","نحت"],"materials":["عاج","هيكل خشبي."]},"965d893b-685b-5fcf-8f0b-b3d64f9e1987":{"name":"قطعة شطرنج","short_description":"هذه قطعة شطرنج (فيل) ممثلة بشكل تجريدي بنابين قصيرين - ولا بد أن هذه القطعة كانت جزءاً من مجموعة كبيرة وباهظة الثمن. الشطرنج لعبة شائعة، انتشرت بسرعة من الهند إلى جميع أنحاء العالم الإسلامي. في ذلك الوقت، كان الشطرنج يُلعب حصرياً في البلاط الملكي ودوائر النبلاء، ونتيجةً لذلك، كانت القطع تُصنع في الغالب من مواد نادرة وثمينة مثل العاج.","type":"عاج","holder":"متحف القن الإسلامي (MIA)","dates":"القرنان الخامس والسادس الهجريان / القرنان الحادي عشر والثاني عشر الميلاديان","location":"الدوحة","dimensions":"الارتفاع:8.5  القطر:7.6 العمق:-","provenance":"إيطاليا، صقلية","obtention":"مجموعة أوروبية خاصة  \nدار سوثبيز للمزادات، لندن، أعمال فنية إسلامية، 30 أبريل 1998، رقم المزاد LN8265، المجموعة 1، متاحف قطر","bibliography":"Greenwood, William J. and Chagari, Salam, *Kings & Pawns: Board Games from India to Spain*, Doha: Akkadia Press, 2014.  \nRosser-Owen, Mariam, *Ivory. 8th to 17th centuries. Treasures from the Museum of Islamic Art*, Doha: National Council for Culture, Arts and Heritage, 2004.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","dynasty":"الحقبة النورماندية","author":"د. تارا ديجاردان","keywords":["إيطاليا","النورماندي","شطرنج","صقلية","عاج"],"materials":["عاج، صباغ، تذهيب","نحت، تحزيز، رسم، ترصيع، تذهيب"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"تمثال حصان","short_description":"تمثال حصان من الفخار، ربما كان لعبة، مغطى ببطانة كريمية اللون وعليه رسوم باللونين الأسود والبني تحت طلاء التزجيج الشفاف.","holder":"دار الآثار الإسلامية","dates":"القرن 4 هـ \\ 10 م","location":"مدينة الكويت","provenance":"شرق بلاد فارس"},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"قطعة شطرنج.","description":"قطعة شطرنج مستديرة وكبيرة منقوشة بدوائر متحدة المركز ونقاط وخطوط، ويبدو أن هذه القطعة كانت تمثل الملك أو الوزير. نشأت لعبة الشطرنج في الهند ووصلت إلى فارس (إيران) خلال الفترة الساسانية في القرن الأول/ السادس، وظهرت المشاركات العربية في الشطرنج أواسط القرن الثالث/ التاسع عشر، ومن العالم العربي، وصلت اللعبة إلى الغرب حيث كان تصنيع القطع يتم حسب الأشكال الإسلامية. يبدو أن هذه القطعة كانت جزءاً من مجموعة رائعة، وهناك قطعة شبه مطابقة لهذه القطعة في متحف الفن الإسلامي في برلين. شجع الفاطميون في مصر تصنيع الأدوات الكمالية من العاج، وبعد سيطرة الفاطميين على صقلية في أوائل القرن الرابع/ العاشر، انفتح المجال أمام الحرفيين المسلمين للسفر إلى صقلية مما أدى إلى نقل الأسلوب الفاطمي في الرسم والزخرفة إليها، وقد استمر فيها حتى بعد أن سيطر النورمان على الجزيرة عام 477/ 1085.","short_description":"بدأت لعبة الشطرنج من الهند، ولكن سريعاً ما انتشرت في العالم الإسلامي. هذه القطعة العاجية الكبيرة الحجم نسبياً، تعود إلى مجموعة فخمة صُنعت خصيصاً لشخص مهم في القصر الملكي الفاطمي.","holder":"المتحف البريطاني.","dates":"القرن الرابع-الخامس/ القرن العاشر أو الحادي عشر.","location":"لندن.","dimensions":"الارتفاع 5.6 سم؛ القطر 5.1 سم.","method_for_datation":"يرتبط شكل هذه القطعة ومادة تصنيعها بقطع أخرى مصنوعة في مصر الفاطمية في القرن الرابع أو الخامس/ العاشر أو الحادي عشر. ونظراً للتشابه في الشكل مع قطعة شطرنج تمثل الملك أو الوزير مصنوعة من حجر الكريستال في متحف فيكتوريا وألبرت، وهي تعود لأوائل القرن الرابع/ العاشر، فالأغلب أن هذه القطعة العاجية معاصرة لها.","method_for_provenance":"تم تصنيع هذه القطعة على الأغلب في مصر أو صقلية الفاطمية في القرن الرابع-الخامس/ العاشر- الحادي عشر.","provenance":"مصر أو صقلية.","obtention":"تم شراؤها عام 1862.","bibliography":"Contadini, A., 'Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum', in “Islamic Art in- the  \n.Ashmolean Museum: Oxford Studies in Islamic Art”, Oxford, 1995  \n\\-.Phillips, T., (ed.), 'Africa: The Art of a Continent', London, 1996, pp.582–3, cat. no. 7.49","dynasty":"الفاطميون","author":"إيميلي  شوفيلتون","copy_editor":"Mandi Gomez","translator":"م.هزار عمران. من: الإنكليزية.","translation_copy_editor":"عباس عباس","materials":["عاج."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"حجر شطرنج.","description":"لقد نشأت لعبة الشطرنج على الغالب في الهند وانتقلت عبر بلاد فارس الساسانية إلى العالم الإسلامي. وقد تميز العرب بصنعهم لأشكال مجردة لحجارة الشطرنج كهذا الحجر. وقد كانوا يصنعونها من مواد ثمينة كالعاج مثلاً. كذلك استخدمت مواد أخرى مثل الكوارتز. وقد وُجد العديد من حجارة الشطرنج المصنوعة من هذا البلور الصخري في ذخائر الكنائس الأوروبية.  \nويعتبر هذا الحجر من القطع المميزة بسبب حجمه الكبير فقد احتاجت صناعته إلى ناب كامل من النوعية العالية ووجب استخدام الكتلة القيّمة من الناب كلها. ويعتقد أن الذي طلب صنع حجارة شطرنج بهذا الحجم، لابد أن يكون من عليّة القوم.  \nلحجر الشطرنج هذا شكل أسطواني قصير وسميك، وله قمة مستديرة وقاعدة على شكل زر، وينتمي حجر الشطرنج هذا، من حيث شكله، إلى مجموعة حجارة اللعب المجرّدة، وربما كان هذا الحجر يمثل الشاه (الملك)، فالزخرفة ملفتة للنظر، وهناك في وسط الحجر وعلى جانبيها الأمامي والخلفي وكذلك على سطحها الأعلى زخارف على شكل صلبان وشبيهة بالزهور والبراعم. ويحيط بالجسم زخرفات على شكل أشجار، أما على السطح الأعلى فتحيط به صلبان ومثلثات صغيرة. وتتكون هذه الزخرفة من نقط وحفر مستديرة. ويتميز السطح السفلي بوجود ثلاث حفر مملوءة بالرصاص، أما سبب ذلك فليس واضحاً وربما كان لإعطاء ثقل إضافي للحجر من أجل ثباته.  \nمما يلفت النظر تكرار الزخرفة المصوغة على شكل صلبان، ويرجح أن هذا الحجر قد صنع في صقلية. أما من ناحية الشكل العام فإن هذا الحجر مصنوع وفق التقليد العربي المجرد لصناعة أحجار اللعب والذي استمر في جنوب إيطاليا إلى القرن الثاني عشر الميلادي.","short_description":"في البلدان الإسلامية كانت لعبة الشطرنج تُلعب ببيادق بالغة الإتقان، مثل تمثال الشاه هذا. فهذا البيدق العاجيّ المُزيَّن بسلسلة من الدوائر، مأخوذ من جنوب إيطاليا، أو صقلية، تلك المنطقة التي كانت ذات يوم جزءاً من الدولة الفاطمية، وعميقة التأثر ـ بالتالي ـ بالثقافة الإسلامية.","holder":"متحف الفن الإسلامي","dates":"القرن الرابع – الخامس / القرن الحادي عشر – الثاني عشر.","location":"برلين","dimensions":"الارتفاع: 7 سم؛ القطر: 6.4سم.","method_for_datation":"هناك أحجار شطرنج مشابهة يقدر تاريخها في القرن الحادي عشر- الثاني عشر الميلادي بسبب زخرفتها التي تتشكل من نقاط مستديرة، لأن استخدام هذه الزخرفة كانت نموذجية لبعض القطع الفنية في جنوب إيطاليا في تلك الفترة.","method_for_provenance":"ثمة أحجار شطرنج مشابهة و زخرفة مشابهة أيضاً موجودة على العلب العاجية تعود إلى جنوب إيطاليا أو صقلية.","provenance":"جنوب إيطاليا أو صقلية.","obtention":"من تجارة القطع الفنية 1925.","bibliography":"\\- ,Wichmann, S. und H., *Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten*  \n.München, 1960, 282 Nr. 5, Abb. 5  \n\\- .Kat. *Chess: East and West, Past and Present*, New York, Metropolitan Museum of Art, 1968  \n\\- .Kühnel, E., *Die islamischen Elfenbeinskulpturen VIII.-XIII.Jh.*, Berlin, 1971, Nr. 9 Taf.V  \n\\- ,Contadini, A.,Islamic Ivory Chess Pieces, Draughtsmen and Dice, in: *Islamic Art in the Ashmolean Museum  \n.Part One*, J.Allan Ed., Oxford Studies in Islamic Art X, Oxford 1955, 111-54 Fig. 54  \n\\- Kluge-Pinsker, A., *Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer  \n.Zeit*. Sigmaringen, 1991, 50 - 4 Abb. 27","dynasty":"العهد الفاطمي أو النورماندي","author":"ينْس كروغر","translator":"هاني صالح. من : الألمانية.","translation_copy_editor":"عباس عباس","keywords":["حجر شطرنج","صقلية","عاج","كوارتز","لعبة شطرنج."],"materials":["عاج، رصاص."]},"fc54f94b-2c73-539f-9c72-9e5bbc3cae2d":{"name":"لوح نرد مطوي","short_description":"اللوح الكلي مصنوع من ثلاثة لوحات جزئية من جوانب خشبية متمفصلة ذات أرجل مفصصة التي تتشابك عندما تطوى لتشكيل صندوق مستطيل. والتزيين الرئيسي على السطح الرئيسي مكون من رصائع ذات أشكال مختلفة تحيط  بزوج (رجل وامرأة ) بلباس أوربي وزوج يرتديان ثوبان إيرانيان وامرأة ترضع طفلا. وقد شكلت المجموعة حول باقة من الأزهار ضمن حدود غنية. والتزيين الرئيسي نسب لرسام من البلاط هو محمد حسن الذي عمل بشكل أساسي في أعمال زيتية. وهو معروف بأنه قد رسم منمنمة لفتح علي شاه وهو جالس على العرش في عام 1234 هجري ( 1818 -19 ) ميلادي.","type":"لوحة نرد ، لعبة ، لوح لعب ، لوح محمول ، لوح مطلي باللكر","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"بداية القرن التاسع عشر","location":"لندن","dimensions":"69 × 45 × 11.2 سم (مفتوح ) ، 49 × 16.4 × 16.8  سم (مطوي)","method_for_datation":"تاريخ ومكان صنع القطعة يعتمدان على أسس الطراز","provenance":"إيران","bibliography":"Khalili, N.D., Robinson, B.W., and Stanley, T., *Lacquer of the Islamic Lands*, London: The Nasser D. Khalili Collection of Islamic Art, volume 22, Part One, 1996: cat.131, pp.178–9. Mackenzie, C., and Finkel, I. (eds), *Asian Games: The Art of Contest*, New York: Asia Society, 2004, no.7:6, 93.Rogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.470, pp.386–7.","dynasty":"عصر الدولة القاجارية","translator":"أحمد باسل رضوان","keywords":["إيران ، قاجاري ، لون مائي ، أعمال لكر ، نرد"]}}

package/translations/items.de.json

@@ -1 +1 @@
-{"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Schachstein.","description":"Das Schachspiel enstand wahrscheinlich in Indien und kam über das sasanidische Persien in die islamische Welt. Kennezichnend für die Araber waren abstrahierte Spielfiguren wie dieser Schachstein, die aus edlen Materialien wie Elfenbein gefertigt wurden. Auch andere Materialien wie Bergkristall wurden benutzt. Zahlreiche Spielfiguren aus Bergkristall haben sich in europäischen Kirchenschätzen erhalten. Allein wegen seiner Größe gehört dieser Schachstein zu herausragenden Stücken, da für ihn ein Stoßzahn bester Qualität benötigt wurde und man den wertvollen massiven Teil des Stoßzahnes verwenden mußte. Der Auftrag zu einem Spiel mit Steinen dieser Größe aus Elfenbein ist in höchsten Kreisen zu vermuten. Der Schachstein hat eine kurze, dicke zylindrischer Form, mit abgerundeter Kappenform und knopartigem Aufsatz. Der Form nach gehört dieser Schachstein zu der Gruppe der abstrahierenden Spielsteine. Wahrscheinlich stellt der Stein die Figur des Königs dar. Besonders interessant ist der Dekor. An den zentralen Stellen des Steines, an der Vorder- und Rückseite, sowie auf der Oberrseite sind stilisierte kreuzförmige, blütenähnliche Ornamente wiedergegeben. Um den Körper werden sie von stilisierten Bäumen flankiert, auf der Oberseite bilden kleine Kreuze und Dreiecke das Umfeld. Dieser Dekor setzt sich aus kreisförmigen Einbohrungen und Punkten zusammen. Eine Besonderheit läßt die Unterseite erkennen, da dort drei kreisförmige Einbohrungen bestehen, die mit Blei ausgefüllt sind. Über deren Zweck läßt sich keine eindeutige Aussage machen. Dienten sie dazu, den Stein schwerer zu machen? Die Wiederholung des kreuzförmigen Ornamentes ist auffällig. Es ist wahrscheinlich, dass der Schachstein in Sizilien hergestellt wurde. Formal führt er die Tradition der arabischen abstrahierten Spielsteine fort, die in Unteritalien bis ins 12. Jh. üblich waren.","short_description":"In islamischen Ländern wurde Schach mit stark stilisierten Figuren wie diesem König gespielt. Die mit einem Kreismuster versehene Figur stammt aus Süditalien oder Sizilien, einer Region, die einmal Teil des fatimidischen Reiches war und daher stark von der islamischen Kultur beeinflusst war.","holder":"Museum für Islamische Kunst","dates":"4.- 5. H. / 10.-11. Jh.","location":"Berlin","dimensions":"Höhe 7 cm Durchmesser 6,4 cm.","method_for_datation":"Vergleichbare Schachsteine werden wegen des Dekors aus Kreispunkten in das 11.-12. Jh. datiert, da die Verwendung dieses Dekors ganz typisch für einge Kunstwerke in Unteritalien in dieser Periode ist.","method_for_provenance":"Sowohl die vergleichbaren Schachsteine als auch mit vergleichbarem Dekor dekorierte Elfenbeinkästen werden nach Unteritalien oder Sizilien datiert.","provenance":"Unteritalien oder Sizilien.","obtention":"Erwerbung aus dem Kunsthandel 1925.","bibliography":"Wichmann, S. und H., Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten, München, 1960, 282 Nr. 5, Abb. 5.  \n  \nKat. Chess: East and West, Past and Present, New York, Metropolitan Museum of Art, 1968.  \n  \nKühnel, E., Die islamischen Elfenbeinskulpturen VIII.-XIII.Jh., Berlin, 1971, Nr. 9 Taf.V  \n  \nContadini, A., Islamic Ivory Chess Pieces, Draughtsmen and Dice, in: Islamic Art in the Ashmolean Museum, Part One, J.Allan Ed., Oxford Studies in Islamic Art X, Oxford 1955, 111-54 Fig. 54.  \n  \nKluge-Pinsker, A., Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer Zeit. Sigmaringen, 1991, 50 - 4 Abb. 27.","linkcatalogs":"IAM_IT_DE_001","author":"Jens Kröger","keywords":["Bergkristall","Elfenbein","Schachspiel","Schachstein","Sizilien"],"materials":["Blei.","Elfenbein"]}}
+{"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Schachstein.","description":"Das Schachspiel enstand wahrscheinlich in Indien und kam über das sasanidische Persien in die islamische Welt. Kennezichnend für die Araber waren abstrahierte Spielfiguren wie dieser Schachstein, die aus edlen Materialien wie Elfenbein gefertigt wurden. Auch andere Materialien wie Bergkristall wurden benutzt. Zahlreiche Spielfiguren aus Bergkristall haben sich in europäischen Kirchenschätzen erhalten. Allein wegen seiner Größe gehört dieser Schachstein zu herausragenden Stücken, da für ihn ein Stoßzahn bester Qualität benötigt wurde und man den wertvollen massiven Teil des Stoßzahnes verwenden mußte. Der Auftrag zu einem Spiel mit Steinen dieser Größe aus Elfenbein ist in höchsten Kreisen zu vermuten. Der Schachstein hat eine kurze, dicke zylindrischer Form, mit abgerundeter Kappenform und knopartigem Aufsatz. Der Form nach gehört dieser Schachstein zu der Gruppe der abstrahierenden Spielsteine. Wahrscheinlich stellt der Stein die Figur des Königs dar. Besonders interessant ist der Dekor. An den zentralen Stellen des Steines, an der Vorder- und Rückseite, sowie auf der Oberrseite sind stilisierte kreuzförmige, blütenähnliche Ornamente wiedergegeben. Um den Körper werden sie von stilisierten Bäumen flankiert, auf der Oberseite bilden kleine Kreuze und Dreiecke das Umfeld. Dieser Dekor setzt sich aus kreisförmigen Einbohrungen und Punkten zusammen. Eine Besonderheit läßt die Unterseite erkennen, da dort drei kreisförmige Einbohrungen bestehen, die mit Blei ausgefüllt sind. Über deren Zweck läßt sich keine eindeutige Aussage machen. Dienten sie dazu, den Stein schwerer zu machen? Die Wiederholung des kreuzförmigen Ornamentes ist auffällig. Es ist wahrscheinlich, dass der Schachstein in Sizilien hergestellt wurde. Formal führt er die Tradition der arabischen abstrahierten Spielsteine fort, die in Unteritalien bis ins 12. Jh. üblich waren.","short_description":"In islamischen Ländern wurde Schach mit stark stilisierten Figuren wie diesem König gespielt. Die mit einem Kreismuster versehene Figur stammt aus Süditalien oder Sizilien, einer Region, die einmal Teil des fatimidischen Reiches war und daher stark von der islamischen Kultur beeinflusst war.","holder":"Museum für Islamische Kunst","dates":"4.- 5. H. / 10.-11. Jh.","location":"Berlin","dimensions":"Höhe 7 cm Durchmesser 6,4 cm.","method_for_datation":"Vergleichbare Schachsteine werden wegen des Dekors aus Kreispunkten in das 11.-12. Jh. datiert, da die Verwendung dieses Dekors ganz typisch für einge Kunstwerke in Unteritalien in dieser Periode ist.","method_for_provenance":"Sowohl die vergleichbaren Schachsteine als auch mit vergleichbarem Dekor dekorierte Elfenbeinkästen werden nach Unteritalien oder Sizilien datiert.","provenance":"Unteritalien oder Sizilien.","obtention":"Erwerbung aus dem Kunsthandel 1925.","bibliography":"Wichmann, S. und H., Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten, München, 1960, 282 Nr. 5, Abb. 5.  \n  \nKat. Chess: East and West, Past and Present, New York, Metropolitan Museum of Art, 1968.  \n  \nKühnel, E., Die islamischen Elfenbeinskulpturen VIII.-XIII.Jh., Berlin, 1971, Nr. 9 Taf.V  \n  \nContadini, A., Islamic Ivory Chess Pieces, Draughtsmen and Dice, in: Islamic Art in the Ashmolean Museum, Part One, J.Allan Ed., Oxford Studies in Islamic Art X, Oxford 1955, 111-54 Fig. 54.  \n  \nKluge-Pinsker, A., Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer Zeit. Sigmaringen, 1991, 50 - 4 Abb. 27.","dynasty":"Fatimiden oder Normannen","linkcatalogs":"IAM_IT_DE_001","author":"Jens Kröger","keywords":["Bergkristall","Elfenbein","Schachspiel","Schachstein","Sizilien"],"materials":["Elfenbein, Blei."]}}

package/translations/items.en.json

@@ -1 +1 @@
-{"033f1b07-bd92-54f1-abb1-d9d9b6f90d82":{"name":"Race car","alternate_name":"Yarış Arabası","short_description":"This toy car was produced completely out of tin, even including its tyres (wheels) and race car driver inside the car. Contained within the tin race car is a pullback motor system which propels the car. It was manufactured by Altın Toy Company in İstanbul way back in 1935 helping to make it a very precious piece of Jülyet Altın collection of the museum.","type":"Toys and games; tin toy; vehicle","holder":"Ankara Toy Museum","dates":"1935","location":"Ankara","dimensions":"Height: 11cm, Length: 22cm, Width: 10cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Jülyet Altın (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["race car","Tin toy","Vehicle"],"materials":["painted on a tin shaped as a race car","tin"]},"1253b43a-cd2e-5d3d-839d-a3df5d64f832":{"name":"Games board","short_description":"Luxury wooden objects – furniture and furnishings as well as architectural fittings inlaid with precious materials such as ivory, ebony, silver, gold, mother-of-pearl and tortoiseshell – were produced in limited quantities for the Ottoman court beginning in the early sixteenth century. LACMA’s rare and spectacular games board from the first half of the 10th/16th century provides a wonderful example of this medium. When open, it offers a backgammon board rendered in ivory and ebony inlays with details of silver and tiny mosaics; when closed, it provides two more gaming opportunities, including an ivory- and ebony-inlaid chess board.","type":"Tools and Equipment","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira c. 936–956 / AD c. 1530–1550","location":"Los Angeles","dimensions":"Closed: 45.7 x 34.3 x 2.1cm;  \nOpen: 46.4 x 68 x 2.5cm","method_for_datation":"The ivory and micro-mosaic inlaid decoration are closely related to similar inlays on wood furniture and furnishings dating or datable to the second quarter of the 10th/16th century during the reign of Sultan Süleyman  (Hegira 926–972 / AD 1520–65), for example, a Qur’an Box (TIEM 5).","method_for_provenance":"The medium and technique—wood with ivory, ebony, silver, and micro-mosaic inlays suggest an Ottoman provenance, while the decorative style, closely relates not only to other inlaid wood objects but to Ottoman glazed pottery and tiles, textiles, manuscript illumination, and metalwork.","provenance":"Turkey","obtention":"Private collection, France, c. 1960s. Private collection, England, unknown dates. Nicholas Shaw Fine Art Ltd., London, until 2007 (sold to); LACMA, purchased with funds provided by Camilla Chandler Frost.","bibliography":"Komaroff, Linda, *Gifts of the Sultan: the Arts of Giving at the Islamic Courts*, Los Angeles: Los Angeles County Museum of Art, 2011: 254-255, fig. 239.  \nKomaroff, Linda, *The Gift Tradition in Islamic Art*, Los Angeles: Los Angeles County Museum of Art, 2012: 86-87.  \nKomaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 157, 162.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 202-203.","author":"LACMA Staff","keywords":["backgammon","Chess","court life","game","inlay","ivory","tawla","traditional games","wood"],"materials":["and micro-mosaics","ebony","Silver","Wood inlaid with ivory"]},"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9":{"name":"Austrian toy theatre set: 'The Caravan to Mecca. The Halt in the Desert' by Trentsentsky","short_description":"With a desert landscape backdrop and cut-out figures on wooden stands, this toy theatre uses intricate detail and imagination to depict the stopping of a pilgrim caravan. With 45 cut out figures and with an original box, the set was made by Matthias Trentensky (1790–1868), a retired army officer and printer who became the Austrian Empire’s foremost maker of toy theatres. Miniature theatres based on popular plays were common in the 19th century particularly in Europe, although this theatre may have been produced as a result of the increasing fascination with the Arab world at the time. The artist is likely to be Theodor Jachimovicz who studied painting at the Academy of Fine Arts Vienna and worked as a theatre stage painter for the State Opera House. Trentensky exported his toy theatres to England through the London company A&S Joseph Myers and Co. of 144 Leadenhall Street, importers of French, German, Swiss and Italian goods and toy merchants. It has been suggested that the theatres produced for London may be of better quality than those for the Austrian market. Other theatres produced for A&S Myers included those closely related to English themes, such as contemporary pantomimes. The collection also holds an uncut version of the theatre, a complete set of 24 plates with 168 illustrations.","type":"Toy; theatre","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Around early 1800s AD","location":"London","dimensions":"ARC.mx 570 box: 21x27.5x4cm, ARC.pt 401: 25x40cm","method_for_datation":"Tentensky began lithographic printing in 1815","provenance":"Europe","author":"Qaisra Khan","keywords":["camel","Childhood","Children","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","theatre","travel","Traveller"],"materials":["Paperboard"]},"3eda5e5f-4952-5998-a62c-f64b45020e07":{"name":"Wooden cubes - puzzle","alternate_name":"Resimli küpler yap-boz","short_description":"The puzzle was manufactured by Hamdi Dündar, who started producing in the Turkish toy industry in 1938, therefore making him one of the earliest wooden toy manufacturers of Turkey. He is especially renown for cube-puzzles and construction playsets. This particular puzzle set consists of 6 different animal pictures upon which the name of them is written below.  In all, the toy is composed of 25 wooden cubes which form 6 different puzzles. It is designed to help children develop fine motor skills and cognitive learning.","type":"Toys and games; wooden toy; puzzle","holder":"Ankara Toy Museum","dates":"1940","location":"Ankara","dimensions":"Height:22cm, Length:22cm, Width: 4cm (each cube is 4x4cm)","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Hamdi Dündar (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["cubes","Puzzle","toy","wooden"],"materials":["Paper","Wooden"]},"4dac9fe7-2ec6-5370-a44d-11f8743530fb":{"name":"Tin bucket","alternate_name":"Teneke kova","short_description":"Jülyet Altın is one of the most important toy manufacturers in Turkey, and she is particularly famous for her tin toys. This sand bucket is made out of solid tin and subsequently painted. A wide variety of tin buckets, in terms of both size and decoration, were made by Jülyet Altın.","type":"Toys and games; tin toy; sand bucket; beach toy","holder":"Ankara Toy Museum","dates":"1948","location":"Ankara","dimensions":"Diameter: 15cm (bottom), Height: 24cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Jülyet Altın (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["beach toy","sand bucket","Tin toy"],"materials":["tin"]},"69a6a526-4050-5ca0-8cb5-fc33c761bad0":{"name":"Sugar molded figurine: Figure of a bride for *Maulid an-Nabi*","short_description":"For almost a thousand years in the land along the Nile, the birthday of the Prophet, the *Maulid an-Nabi*, has been celebrated with sugared goods and sweetmeats made of nuts and honey. In Cairo, merchants sell a variety of figures made out of sugar wrapped with coloured paper; these are particularly popular with children. Girls receive a brightly coloured *ʿArusat al-Maulid*, a \"birthday bride\". In the 1970s, the \"Maulid-brides\" were produced in Cairo in special workshops using two-part wooden models. In enclosed courtyards at the back, many young girls decorated the bride figures, which are dried and ornamented with sugar mouldings, with the clothing and appropriate accessories of tissue paper. The \"brides\" are brought to be sold on foot or by bicycle, with fifty to a hundred pieces transported on large wooden trays. Independent of the embellishment of the figures, the price is based on the weight and the quality of the sugar.","type":"Religion","holder":"Weltmuseum Wien","dates":"1978","location":"Vienna","dimensions":"L: 30cm, W: 13cm, H: 39cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1978.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["foil","Paper","Sugar","wire"]},"72a4f210-e9af-568c-82cb-538110bc11c0":{"name":"City bus","alternate_name":"Halk otobüsü","short_description":"This bus was produced by the Gürel Toy Company in 1969, which was one of the most important tin toy manufacturers of the time. The company started manufacturing toys in 1944. The company is renowned for its huge variety of tin toys such as buses, planes, trucks, tanker trucks, vans, rattles, whistles, strollers, police cars, military vehicles and much more.","type":"Toys and games; tin toy; public transportation; vehicle","holder":"Ankara Toy Museum","dates":"1969","location":"Ankara","dimensions":"Height: 6cm, Length: 21cm, Width: 7cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Müstecap Baybörü (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["bus","publis transportation","Tin toy","Vehicle"],"materials":["painted on a tin shaped as a bus","tin"]},"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figure of a dancer.","description":"The figure appears to be a dancer and was almost certainly a toy. The black hair is tousled. The round face with big eyes and a thin nose seems out of proportion with the body. The neck is very thick. The breasts are prominent but the abdomen, defined by two sets of grooves, is quite slim.  \nThe figure has lost its arms. The legs are covered by a type of Oriental trouser (*sirwal*) and the feet are missing.  \nA wooden framework has been inserted inside the piece of ivory to give it rigidity.  \nThe figure is hardly harmonious but it is finely modelled. The facial features are typically Mesopotamian and they resemble those found on several contemporary pottery plates or stucco objects.","short_description":"This finely carved figurine of a dancing girl of typically Mesopotamian physiognomy is made of solid ivory, with a wooden framework affording it a degree of stability. It is comparable to several similar images found on ceramic dishes and stucco objects.","type":"Figure, ivory","holder":"Ribat Museum.","dates":"Hegira 3rd century / AD 9th century.","location":"Monastir.","dimensions":"Length 18 cm, width 4.5 cm.","method_for_datation":"Several Iranian human figures dating from the 3rd to 4th / 9th to 10th centuries are very similar to this Egyptian figure. It was very probably imported from Mesopotamia in the Tulunid era or it is possibly a copy made after the Oriental model.","method_for_provenance":"Analogies of style.","provenance":"Very probably Egypt.","obtention":"In 1958 this piece was bought by the late H. H. Abdelwahab, former Director of the National Institute of Art and Archaeology, at an Egyptian antique dealership. He donated it to the Ribat Museum at Monastir in the same year.","bibliography":"*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.174–6.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["carving","figurative decoration","ivory"],"materials":["Ivory with wooden ossature."]},"965d893b-685b-5fcf-8f0b-b3d64f9e1987":{"name":"Chess piece","short_description":"This piece represents the *fil*, or elephant (abstractly represented with two short tusks) - which in Europe became the bishop - and must have formed part of a large and expensive set. Chess was a popular indoor game and quickly spread from India throughout the Islamic world. At this time chess was played exclusively in royal courts and noble circles and as a consequence the pieces were often crafted from rare and precious materials like ivory.","type":"Ivory","holder":"Museum of Islamic Art","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Doha","dimensions":"Height: 8.5cm, Diameter: 7.6cm","provenance":"Italy, Sicily","obtention":"European Private Collection  \nSotheby's London, Islamic Works of Art, 30 April 1998, Sale LN8265, Lot 1 to Qatar Museums","bibliography":"Greenwood, William J. and Chagari, Salam, *Kings & Pawns: Board Games from India to Spain*, Doha: Akkadia Press, 2014.  \nRosser-Owen, Mariam, *Ivory. 8th to 17th centuries. Treasures from the Museum of Islamic Art*, Doha: National Council for Culture, Arts and Heritage, 2004.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","author":"Tara Desjardins","keywords":["Chess","Italy","ivory","Norman","Sicily"],"materials":["carving","gilding","Incising","inlaid","ivory","painting","pigment"]},"9c9213a8-28c2-5a2e-b2db-b4b6a1e7014f":{"name":"Cappadocian hand-made doll","alternate_name":"El yapımı Kapadokya bebeği","short_description":"This doll represents a mother holding her baby over her head and It is one of the most precious objects of the museum. The production of this kind of rag doll was started by the women in the village called Soğanlı in Kayseri, a province in the central Anatolian region.  This tradition was then diffused throughout Cappadocia, and as the practice became more widespread it lead to the production of rags dolls with local patterns and motifs particular to that area. The rag dolls were simply made using wooden sticks, cloth and rag. Each of them has a unique size and unique clothes which represent the culture of the region. The doll spinning wool and the doll carrying a clay pitcher are very popular compositions, representing daily life.","type":"Toys and games; doll; rag doll; handmade toy","holder":"Ankara Toy Museum","dates":"1990","location":"Ankara","dimensions":"Height: 25cm, Length: 10cm, Width: 6cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Nevşehir","obtention":"Donated by Fatma İnhan","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["local doll","Rag doll","traditional doll"],"materials":["cloth","Handmade","rag","wooden sticks"]},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","description":"Shadow play consists of solid figures being shown and moved behind a semi-transparent screen. The characters of Hacivat and Karagöz plays reflect the multi-ethnic makeup of the Ottoman Empire. They are represented with a high level of detail through their figures, attitudes, dances, etc. Shadow play received its basic character in the 17th century and developed further in the following centuries, eventually becoming one of the most popular traditional forms of entertainment among Turks. It was performed by a single artist that is called a *hayali* (imaginary person) or *hayalbaz*. One of the main characteristics of shadow play is that the *hayali* changes his voice and manner of speaking depending on the character he was animating.","type":"Puppet","holder":"Bursa Karagöz Museum","location":"Bursa","copy_editor":"Daniel de la Vega"},"d1a1829f-11e0-56f9-9315-ca94e69bdac5":{"name":"A tumbrel with knockers","alternate_name":"Tokmaklı kağnı","short_description":"This wooden vehicle is among the most important objects belonging to the museum.  Being both a local and traditional toy, this tumbrel is handmade (produced in a carpentry workshop) and coloured with natural madder roots. This toy can be pulled with the help of a rope tied to the front side, which thanks to a mechanism incorporated into the rear wheels induces the knockers to make sounds.","type":"Toys and games; wooden toy; local toy; vehicle; toy making sound","holder":"Ankara Toy Museum","dates":"1988","location":"Ankara","dimensions":"Height: 24cm, Length: 41cm, Width: 20cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Iskilip, Çorum","obtention":"Donated by Bekir Onur (the founder of Ankara Toy Museum)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["Knocker","local toy","toys making sound","tumbrel","Vehicle","wooden"],"materials":["Handmade","Wooden"]},"da9ff8ff-3fc9-58c7-8e19-80028ca68fa9":{"name":"Whistle in the shape of pitcher","alternate_name":"Düdüklü Testi","short_description":"This toy was produced in 1989, however this object has been used as a toy for a long time in Anatolia. This toy is a fantastic example of the traditional Eyüp (a district in İstanbul known for its toy manufacturers in the middle of 20th century) toys.  Whilst this clay toy was sometimes painted bright colours like green, red, yellow, pink, blue, it was also common for it to be left in its natural colour. After being filled on the inside with water, if someone blows through the spout part of the pitcher it creates a whistle sound.","type":"Toys and games; terracotta; clay; toy making sound","holder":"Ankara Toy Museum","dates":"1989","location":"Ankara","dimensions":"Height: 10cm, Diameter: 4cm, Length: 7.5cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Eyüp, Istanbul","obtention":"Donated by Bekir Onur (the founder of Ankara Toy Museum)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["clay","Terracotta","toys making sound","whistle"],"materials":["Clay","painted","Terracotta"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"Zoomorphic figurine","short_description":"Free standing earthenware horse figurine was probably a toy. It's covered with a cream coloured engobe and painted in a brownish black slip under a transparent colourless glaze.","type":"Toy, earthenware, ceramic","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 4th century / AD 10th century","location":"Kuwait City","provenance":"East Iranian World","keywords":["earthenware","Engobe","Glaze","horse","horsemanship","slip"]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Chess piece.","description":"A large, circular chess piece with incised concentric circles, dots and lines. This abstract piece probably represents a King or Queen. The game of chess originated in India and reached Persia (Iran) during the Sassanid period in the AH 1st / AD 6th century. Arabic treatises on chess appear in the mid- AH 3rd / AD 9th century. From the Arab World, knowledge of the game passed to the West where pieces were often modelled on Islamic prototypes. This chess piece must have been part of a particularly impressive set. An almost identical piece is now in the Museum of Islamic Art in Berlin. The Fatimids in Egypt were active patrons of luxury objects made of ivory. After conquering Sicily in the early AH 4th / AD 10th century, the way was opened for Muslim craftsmen to travel to Sicily. This resulted in the transference of Fatimid-style painting and decorative arts to Sicily, which continued even after the Normans conquered the island in AH 477/ AD 1085.","short_description":"Chess originated in India but soon became popular throughout the Islamic world and beyond. This large ivory chess piece must have belonged to a luxury set made for a patron of high rank or for the Fatimid royal court.","type":"Ivory","holder":"The British Museum.","dates":"Hegira 4th or 5th century / AD 10th or 11th century.","location":"London, England","dimensions":"Height 5.6 cm, diameter 5.1 cm.","method_for_datation":"The shape and material of this piece relates to other pieces made in Fatimid Egypt in the 4th or 5th / 10th or 11th centuries. Given that there is a similarity in shape with another King or Queen chess piece made of rock crystal at the Victoria and Albert Museum, which is dated to the early 4th / 10th century, it is likely that this ivory piece is contemporaneous.","method_for_provenance":"This piece would have been made in Fatimid Egypt or Sicily in the 4th–5th / 10th–11th centuries.","provenance":"Egypt or Sicily.","obtention":"Acquired in 1862.","bibliography":"Contadini, A., \"Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum\", in *Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art*, Oxford, 1995.  \n  \nPhillips, T., (ed.), *Africa: The Art of a Continent*, London, 1996, pp.582–3, cat. no. 7.49.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["game","ivory","southern Italy"],"materials":["Ivory."]},"e8585e51-819e-5872-8973-ce808037781d":{"name":"Wooden car","alternate_name":"Tahta araba","short_description":"This wooden car was manufactured by Çevik Toy Company in 1957. Muzaffer Neçevik, the founder of the company, is among the first wooden toy manufacturers in Turkey, having begun manufacturing them in 1955. Çevik Toy Company is famous for its vehicle toys made of alder wood such as Jeeps, trucks, buses, trams, taxis and vans.","type":"Toys and games; wooden toy; car; vehicle","holder":"Ankara Toy Museum","dates":"1957","location":"Ankara","dimensions":"Height: 15cm, Length: 42cm, Width: 13cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Muzaffer Neçevik (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["car","Vehicle","wooden toy"],"materials":["Wooden"]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Chess piece.","description":"The game of chess probably has its origin in India and reached the Islamic world via Sassanid Persia. Abstract game figures made out of precious materials like ivory, such as this chess piece, were characteristically used by Arabs. Other materials, such as rock-crystal, were also exploited. A number of pieces made from rock-crystal became part of the treasure collections that belonged to European churches.  \nIts size alone makes this chess piece remarkable and it must have needed the largest and most expensive section of a tusk of the highest quality. Only the most elite circles of society would have commissioned ivory game pieces of this size.  \nThe chess piece has a short and fat cylindrical form, with a rounded cap and button-like top. Its shape guarantees its place among the group of abstract game pieces. This piece is probably the king. The decoration is of particular interest. Stylised cross-shaped, blossom-like ornaments cover its central area at the front and back as well as on the top. They are flanked around the body by stylised trees, and on the top they are surrounded by small crosses and triangles. This decoration is formed from circular drill-holes and dots. The underside of the chess piece has a peculiar feature: three circular holes have been drilled and filled with lead. No single explanation for this has yet been determined. Could it have been to make the piece heavier?  \nThe cross-shaped ornamentation is repeated conspicuously. It is probable that this chess piece was made in Sicily. It has been made according to the traditional manufacture of abstract Arab game pieces, which were customarily employed in southern Italy up until the AH 6th / 12th century.","short_description":"In Islamic countries the game of chess was played with highly stylised figures such as this figure of a king. Decorated with a pattern of circles this ivory chessman is from southern Italy or Sicily, a region that once was part of the Fatimid empire and was thus deeply influenced by Islamic culture.","type":"Chess piece, ivory","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 4th–5th centuries / 10th–11th centuries.","location":"Berlin","dimensions":"Height 7 cm, diameter 6.4 cm.","method_for_datation":"Similar chess pieces have been dated to the 11th–12th century because of their circular dot decoration, which was characteristic of some works of art made during this period in southern Italy.","method_for_provenance":"Similar chess pieces and similarly decorated ivory caskets are attributed to southern Italy or Sicily.","provenance":"Southern Italy or Sicily.","obtention":"Acquired from an art dealer in 1925.","bibliography":"*Chess: East and West, Past and Present*, Catalogue, New York, 1968.  \nContadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice”, in *Islamic Art in the Ashmolean Museum, Part One*, (ed. J. Allan), Oxford Studies in Islamic Art X, Oxford, 1955, pp.111–54, fig. 54.  \nKluge-Pinsker, A., *Schachspiel und Trictac: Zeugnisse Mittelalterlicher Spielfreude in Salischer Zeit*, Sigmaringen, 1991, pp.50–4, fig. 27.  \nKühnel, E., *Die Islamischen Elfenbeinskulpturen, VIII–XIII Jh.*, Berlin, 1971, no. 9, plate V.  \nWichmann, S. and Wichmann, H., *Schach: Ursprung und Wandlung der Spielfigur in Zwölf Jahrhunderten*, Munich, 1960, 282, no. 5, fig. 5.","linkcatalogs":"IAM_IT_EN_001","author":"Jens Kröger","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["ivory","rock-crystal","Sicily"],"materials":["ivory","lead."]},"fc54f94b-2c73-539f-9c72-9e5bbc3cae2d":{"name":"Folding backgammon board","short_description":"The board is made of three hinged wooden panels with lobed feet that interlock when folded to form a rectangular box. The principal decoration on the playing surface consists of medallions of various shapes enclosing couples in European dress, a couple in Iranian dress and a woman nursing a child. They are arranged around a central bouquet of flowers within elaborate borders.  \nThe main decoration has been attributed to the court painter Muhammad Hasan, who worked primarily in oils. He is known to have painted a miniature of Fath ‘Ali Shah enthroned in AH 1234 (AD 1818–19).","type":"Backgammon board; game; gaming board; portable board; lacquer-painted board","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Early 19th century","location":"London","dimensions":"69 x 45 x 11.2cm (open); 69 x 16.4 x 16.8cm (closed)","method_for_datation":"Date and provenance are based on stylistic grounds.","provenance":"Iran","bibliography":"Khalili, N.D., Robinson, B.W., and Stanley, T., *Lacquer of the Islamic Lands*, London: The Nasser D. Khalili Collection of Islamic Art, volume 22, Part One, 1996: cat.131, pp.178–9.  \nMackenzie, C., and Finkel, I. (eds), *Asian Games: The Art of Contest*, New York: Asia Society, 2004, no.7:6, 93.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.470, pp.386–7.","keywords":["backgammon","Iran","lacquerwork","Qajar","watercolour","wood"],"materials":["base metal hinges","painted in opaque watercolour and varnished","Wood"]}}
+{"033f1b07-bd92-54f1-abb1-d9d9b6f90d82":{"name":"Race car","alternate_name":"Yarış Arabası","short_description":"This toy car was produced completely out of tin, even including its tyres (wheels) and race car driver inside the car. Contained within the tin race car is a pullback motor system which propels the car. It was manufactured by Altın Toy Company in İstanbul way back in 1935 helping to make it a very precious piece of Jülyet Altın collection of the museum.","type":"Toys and games; tin toy; vehicle","holder":"Ankara Toy Museum","dates":"1935","location":"Ankara","dimensions":"Height: 11cm, Length: 22cm, Width: 10cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Jülyet Altın (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["race car","Tin toy","Vehicle"],"materials":["painted on a tin shaped as a race car","Tin"]},"1253b43a-cd2e-5d3d-839d-a3df5d64f832":{"name":"Games board","short_description":"Luxury wooden objects – furniture and furnishings as well as architectural fittings inlaid with precious materials such as ivory, ebony, silver, gold, mother-of-pearl and tortoiseshell – were produced in limited quantities for the Ottoman court beginning in the early sixteenth century. LACMA’s rare and spectacular games board from the first half of the 10th/16th century provides a wonderful example of this medium. When open, it offers a backgammon board rendered in ivory and ebony inlays with details of silver and tiny mosaics; when closed, it provides two more gaming opportunities, including an ivory- and ebony-inlaid chess board.","type":"Tools and Equipment","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira c. 936–956 / AD c. 1530–1550","location":"Los Angeles","dimensions":"Closed: 45.7 x 34.3 x 2.1cm;  \nOpen: 46.4 x 68 x 2.5cm","method_for_datation":"The ivory and micro-mosaic inlaid decoration are closely related to similar inlays on wood furniture and furnishings dating or datable to the second quarter of the 10th/16th century during the reign of Sultan Süleyman  (Hegira 926–972 / AD 1520–65), for example, a Qur’an Box (TIEM 5).","method_for_provenance":"The medium and technique—wood with ivory, ebony, silver, and micro-mosaic inlays suggest an Ottoman provenance, while the decorative style, closely relates not only to other inlaid wood objects but to Ottoman glazed pottery and tiles, textiles, manuscript illumination, and metalwork.","provenance":"Turkey","obtention":"Private collection, France, c. 1960s. Private collection, England, unknown dates. Nicholas Shaw Fine Art Ltd., London, until 2007 (sold to); LACMA, purchased with funds provided by Camilla Chandler Frost.","bibliography":"Komaroff, Linda, *Gifts of the Sultan: the Arts of Giving at the Islamic Courts*, Los Angeles: Los Angeles County Museum of Art, 2011: 254-255, fig. 239.  \nKomaroff, Linda, *The Gift Tradition in Islamic Art*, Los Angeles: Los Angeles County Museum of Art, 2012: 86-87.  \nKomaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 157, 162.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 202-203.","dynasty":"Ottoman","author":"LACMA Staff","keywords":["backgammon","Chess","court life","game","inlay","ivory","tawla","traditional games","wood"],"materials":["Wood inlaid with ivory, ebony, silver, and micro-mosaics"]},"1b55ef6a-0fb1-56d2-9274-4f0775c2cee9":{"name":"Austrian toy theatre set: 'The Caravan to Mecca. The Halt in the Desert' by Trentsentsky","short_description":"With a desert landscape backdrop and cut-out figures on wooden stands, this toy theatre uses intricate detail and imagination to depict the stopping of a pilgrim caravan. With 45 cut out figures and with an original box, the set was made by Matthias Trentensky (1790–1868), a retired army officer and printer who became the Austrian Empire’s foremost maker of toy theatres. Miniature theatres based on popular plays were common in the 19th century particularly in Europe, although this theatre may have been produced as a result of the increasing fascination with the Arab world at the time. The artist is likely to be Theodor Jachimovicz who studied painting at the Academy of Fine Arts Vienna and worked as a theatre stage painter for the State Opera House. Trentensky exported his toy theatres to England through the London company A&S Joseph Myers and Co. of 144 Leadenhall Street, importers of French, German, Swiss and Italian goods and toy merchants. It has been suggested that the theatres produced for London may be of better quality than those for the Austrian market. Other theatres produced for A&S Myers included those closely related to English themes, such as contemporary pantomimes. The collection also holds an uncut version of the theatre, a complete set of 24 plates with 168 illustrations.","type":"Toy; theatre","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Around early 1800s AD","location":"London","dimensions":"ARC.mx 570 box: 21x27.5x4cm, ARC.pt 401: 25x40cm","method_for_datation":"Tentensky began lithographic printing in 1815","provenance":"Europe","author":"Qaisra Khan","keywords":["camel","Childhood","Children","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","theatre","travel","Traveller"],"materials":["Paperboard"]},"3eda5e5f-4952-5998-a62c-f64b45020e07":{"name":"Wooden cubes - puzzle","alternate_name":"Resimli küpler yap-boz","short_description":"The puzzle was manufactured by Hamdi Dündar, who started producing in the Turkish toy industry in 1938, therefore making him one of the earliest wooden toy manufacturers of Turkey. He is especially renown for cube-puzzles and construction playsets. This particular puzzle set consists of 6 different animal pictures upon which the name of them is written below.  In all, the toy is composed of 25 wooden cubes which form 6 different puzzles. It is designed to help children develop fine motor skills and cognitive learning.","type":"Toys and games; wooden toy; puzzle","holder":"Ankara Toy Museum","dates":"1940","location":"Ankara","dimensions":"Height:22cm, Length:22cm, Width: 4cm (each cube is 4x4cm)","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Hamdi Dündar (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["cubes","Puzzle","toy","wooden"],"materials":["Paper","Wooden"]},"4dac9fe7-2ec6-5370-a44d-11f8743530fb":{"name":"Tin bucket","alternate_name":"Teneke kova","short_description":"Jülyet Altın is one of the most important toy manufacturers in Turkey, and she is particularly famous for her tin toys. This sand bucket is made out of solid tin and subsequently painted. A wide variety of tin buckets, in terms of both size and decoration, were made by Jülyet Altın.","type":"Toys and games; tin toy; sand bucket; beach toy","holder":"Ankara Toy Museum","dates":"1948","location":"Ankara","dimensions":"Diameter: 15cm (bottom), Height: 24cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Jülyet Altın (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["beach toy","sand bucket","Tin toy"],"materials":["Tin"]},"69a6a526-4050-5ca0-8cb5-fc33c761bad0":{"name":"Sugar molded figurine: Figure of a bride for *Maulid an-Nabi*","short_description":"For almost a thousand years in the land along the Nile, the birthday of the Prophet, the *Maulid an-Nabi*, has been celebrated with sugared goods and sweetmeats made of nuts and honey. In Cairo, merchants sell a variety of figures made out of sugar wrapped with coloured paper; these are particularly popular with children. Girls receive a brightly coloured *ʿArusat al-Maulid*, a \"birthday bride\". In the 1970s, the \"Maulid-brides\" were produced in Cairo in special workshops using two-part wooden models. In enclosed courtyards at the back, many young girls decorated the bride figures, which are dried and ornamented with sugar mouldings, with the clothing and appropriate accessories of tissue paper. The \"brides\" are brought to be sold on foot or by bicycle, with fifty to a hundred pieces transported on large wooden trays. Independent of the embellishment of the figures, the price is based on the weight and the quality of the sugar.","type":"Religion","holder":"Weltmuseum Wien","dates":"1978","location":"Vienna","dimensions":"L: 30cm, W: 13cm, H: 39cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1978.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["Sugar, paper, wire, foil"]},"72a4f210-e9af-568c-82cb-538110bc11c0":{"name":"City bus","alternate_name":"Halk otobüsü","short_description":"This bus was produced by the Gürel Toy Company in 1969, which was one of the most important tin toy manufacturers of the time. The company started manufacturing toys in 1944. The company is renowned for its huge variety of tin toys such as buses, planes, trucks, tanker trucks, vans, rattles, whistles, strollers, police cars, military vehicles and much more.","type":"Toys and games; tin toy; public transportation; vehicle","holder":"Ankara Toy Museum","dates":"1969","location":"Ankara","dimensions":"Height: 6cm, Length: 21cm, Width: 7cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Müstecap Baybörü (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["bus","publis transportation","Tin toy","Vehicle"],"materials":["painted on a tin shaped as a bus","Tin"]},"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figure of a dancer.","description":"The figure appears to be a dancer and was almost certainly a toy. The black hair is tousled. The round face with big eyes and a thin nose seems out of proportion with the body. The neck is very thick. The breasts are prominent but the abdomen, defined by two sets of grooves, is quite slim.  \nThe figure has lost its arms. The legs are covered by a type of Oriental trouser (*sirwal*) and the feet are missing.  \nA wooden framework has been inserted inside the piece of ivory to give it rigidity.  \nThe figure is hardly harmonious but it is finely modelled. The facial features are typically Mesopotamian and they resemble those found on several contemporary pottery plates or stucco objects.","short_description":"This finely carved figurine of a dancing girl of typically Mesopotamian physiognomy is made of solid ivory, with a wooden framework affording it a degree of stability. It is comparable to several similar images found on ceramic dishes and stucco objects.","type":"Figure, ivory","holder":"Ribat Museum.","dates":"Hegira 3rd century / AD 9th century.","location":"Monastir.","dimensions":"Length 18 cm, width 4.5 cm.","method_for_datation":"Several Iranian human figures dating from the 3rd to 4th / 9th to 10th centuries are very similar to this Egyptian figure. It was very probably imported from Mesopotamia in the Tulunid era or it is possibly a copy made after the Oriental model.","method_for_provenance":"Analogies of style.","provenance":"Very probably Egypt.","obtention":"In 1958 this piece was bought by the late H. H. Abdelwahab, former Director of the National Institute of Art and Archaeology, at an Egyptian antique dealership. He donated it to the Ribat Museum at Monastir in the same year.","bibliography":"*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.174–6.","dynasty":"Abbasid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["carving","figurative decoration","ivory"],"materials":["Ivory with wooden ossature."]},"965d893b-685b-5fcf-8f0b-b3d64f9e1987":{"name":"Chess piece","short_description":"This piece represents the *fil*, or elephant (abstractly represented with two short tusks) - which in Europe became the bishop - and must have formed part of a large and expensive set. Chess was a popular indoor game and quickly spread from India throughout the Islamic world. At this time chess was played exclusively in royal courts and noble circles and as a consequence the pieces were often crafted from rare and precious materials like ivory.","type":"Ivory","holder":"Museum of Islamic Art","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Doha","dimensions":"Height: 8.5cm, Diameter: 7.6cm","provenance":"Italy, Sicily","obtention":"European Private Collection  \nSotheby's London, Islamic Works of Art, 30 April 1998, Sale LN8265, Lot 1 to Qatar Museums","bibliography":"Greenwood, William J. and Chagari, Salam, *Kings & Pawns: Board Games from India to Spain*, Doha: Akkadia Press, 2014.  \nRosser-Owen, Mariam, *Ivory. 8th to 17th centuries. Treasures from the Museum of Islamic Art*, Doha: National Council for Culture, Arts and Heritage, 2004.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","dynasty":"Norman","author":"Tara Desjardins","keywords":["Chess","Italy","ivory","Norman","Sicily"],"materials":["Carving, Incising, Painting, Inlaid, Gilding","Ivory, Pigment, Gilding"]},"9c9213a8-28c2-5a2e-b2db-b4b6a1e7014f":{"name":"Cappadocian hand-made doll","alternate_name":"El yapımı Kapadokya bebeği","short_description":"This doll represents a mother holding her baby over her head and It is one of the most precious objects of the museum. The production of this kind of rag doll was started by the women in the village called Soğanlı in Kayseri, a province in the central Anatolian region.  This tradition was then diffused throughout Cappadocia, and as the practice became more widespread it lead to the production of rags dolls with local patterns and motifs particular to that area. The rag dolls were simply made using wooden sticks, cloth and rag. Each of them has a unique size and unique clothes which represent the culture of the region. The doll spinning wool and the doll carrying a clay pitcher are very popular compositions, representing daily life.","type":"Toys and games; doll; rag doll; handmade toy","holder":"Ankara Toy Museum","dates":"1990","location":"Ankara","dimensions":"Height: 25cm, Length: 10cm, Width: 6cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Nevşehir","obtention":"Donated by Fatma İnhan","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["local doll","Rag doll","traditional doll"],"materials":["cloth, wooden sticks, rag","Handmade"]},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","short_description":"Shadow play consists of solid figures being shown and moved behind a semi-transparent screen. The characters of Hacivat and Karagöz plays reflect the multi-ethnic makeup of the Ottoman Empire. They are represented with a high level of detail through their figures, attitudes, dances, etc. Shadow play received its basic character in the 17th century and developed further in the following centuries, eventually becoming one of the most popular traditional forms of entertainment among Turks. It was performed by a single artist that is called a *hayali* (imaginary person) or *hayalbaz*. One of the main characteristics of shadow play is that the *hayali* changes his voice and manner of speaking depending on the character he was animating.","type":"Puppet","holder":"Bursa Karagöz Museum","location":"Bursa","copy_editor":"Daniel de la Vega","materials":["Leather"]},"d1a1829f-11e0-56f9-9315-ca94e69bdac5":{"name":"A tumbrel with knockers","alternate_name":"Tokmaklı kağnı","short_description":"This wooden vehicle is among the most important objects belonging to the museum.  Being both a local and traditional toy, this tumbrel is handmade (produced in a carpentry workshop) and coloured with natural madder roots. This toy can be pulled with the help of a rope tied to the front side, which thanks to a mechanism incorporated into the rear wheels induces the knockers to make sounds.","type":"Toys and games; wooden toy; local toy; vehicle; toy making sound","holder":"Ankara Toy Museum","dates":"1988","location":"Ankara","dimensions":"Height: 24cm, Length: 41cm, Width: 20cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Iskilip, Çorum","obtention":"Donated by Bekir Onur (the founder of Ankara Toy Museum)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["Knocker","local toy","toys making sound","tumbrel","Vehicle","wooden"],"materials":["Handmade","Wooden"]},"da9ff8ff-3fc9-58c7-8e19-80028ca68fa9":{"name":"Whistle in the shape of pitcher","alternate_name":"Düdüklü Testi","short_description":"This toy was produced in 1989, however this object has been used as a toy for a long time in Anatolia. This toy is a fantastic example of the traditional Eyüp (a district in İstanbul known for its toy manufacturers in the middle of 20th century) toys.  Whilst this clay toy was sometimes painted bright colours like green, red, yellow, pink, blue, it was also common for it to be left in its natural colour. After being filled on the inside with water, if someone blows through the spout part of the pitcher it creates a whistle sound.","type":"Toys and games; terracotta; clay; toy making sound","holder":"Ankara Toy Museum","dates":"1989","location":"Ankara","dimensions":"Height: 10cm, Diameter: 4cm, Length: 7.5cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Eyüp, Istanbul","obtention":"Donated by Bekir Onur (the founder of Ankara Toy Museum)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["clay","Terracotta","toys making sound","whistle"],"materials":["Clay, terracotta","painted"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"Zoomorphic figurine","short_description":"Free standing earthenware horse figurine was probably a toy. It's covered with a cream coloured engobe and painted in a brownish black slip under a transparent colourless glaze.","type":"Toy, earthenware, ceramic","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 4th century / AD 10th century","location":"Kuwait City","provenance":"East Iranian World","dynasty":"Samanid","keywords":["earthenware","Engobe","Glaze","horse","horsemanship","slip"]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Chess piece.","description":"A large, circular chess piece with incised concentric circles, dots and lines. This abstract piece probably represents a King or Queen. The game of chess originated in India and reached Persia (Iran) during the Sassanid period in the AH 1st / AD 6th century. Arabic treatises on chess appear in the mid- AH 3rd / AD 9th century. From the Arab World, knowledge of the game passed to the West where pieces were often modelled on Islamic prototypes. This chess piece must have been part of a particularly impressive set. An almost identical piece is now in the Museum of Islamic Art in Berlin. The Fatimids in Egypt were active patrons of luxury objects made of ivory. After conquering Sicily in the early AH 4th / AD 10th century, the way was opened for Muslim craftsmen to travel to Sicily. This resulted in the transference of Fatimid-style painting and decorative arts to Sicily, which continued even after the Normans conquered the island in AH 477/ AD 1085.","short_description":"Chess originated in India but soon became popular throughout the Islamic world and beyond. This large ivory chess piece must have belonged to a luxury set made for a patron of high rank or for the Fatimid royal court.","type":"Ivory","holder":"The British Museum.","dates":"Hegira 4th or 5th century / AD 10th or 11th century.","location":"London, England","dimensions":"Height 5.6 cm, diameter 5.1 cm.","method_for_datation":"The shape and material of this piece relates to other pieces made in Fatimid Egypt in the 4th or 5th / 10th or 11th centuries. Given that there is a similarity in shape with another King or Queen chess piece made of rock crystal at the Victoria and Albert Museum, which is dated to the early 4th / 10th century, it is likely that this ivory piece is contemporaneous.","method_for_provenance":"This piece would have been made in Fatimid Egypt or Sicily in the 4th–5th / 10th–11th centuries.","provenance":"Egypt or Sicily.","obtention":"Acquired in 1862.","bibliography":"Contadini, A., \"Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum\", in *Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art*, Oxford, 1995.  \n  \nPhillips, T., (ed.), *Africa: The Art of a Continent*, London, 1996, pp.582–3, cat. no. 7.49.","dynasty":"Fatimid","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["game","ivory","southern Italy"],"materials":["Ivory."]},"e8585e51-819e-5872-8973-ce808037781d":{"name":"Wooden car","alternate_name":"Tahta araba","short_description":"This wooden car was manufactured by Çevik Toy Company in 1957. Muzaffer Neçevik, the founder of the company, is among the first wooden toy manufacturers in Turkey, having begun manufacturing them in 1955. Çevik Toy Company is famous for its vehicle toys made of alder wood such as Jeeps, trucks, buses, trams, taxis and vans.","type":"Toys and games; wooden toy; car; vehicle","holder":"Ankara Toy Museum","dates":"1957","location":"Ankara","dimensions":"Height: 15cm, Length: 42cm, Width: 13cm","method_for_datation":"Documented in the inventory of museum records.","provenance":"Istanbul","obtention":"Donated by Muzaffer Neçevik (the manufacturer)","author":"Ceren Güneröz","copy_editor":"Jonathan Turnbull","keywords":["car","Vehicle","wooden toy"],"materials":["Wooden"]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Chess piece.","description":"The game of chess probably has its origin in India and reached the Islamic world via Sassanid Persia. Abstract game figures made out of precious materials like ivory, such as this chess piece, were characteristically used by Arabs. Other materials, such as rock-crystal, were also exploited. A number of pieces made from rock-crystal became part of the treasure collections that belonged to European churches.  \nIts size alone makes this chess piece remarkable and it must have needed the largest and most expensive section of a tusk of the highest quality. Only the most elite circles of society would have commissioned ivory game pieces of this size.  \nThe chess piece has a short and fat cylindrical form, with a rounded cap and button-like top. Its shape guarantees its place among the group of abstract game pieces. This piece is probably the king. The decoration is of particular interest. Stylised cross-shaped, blossom-like ornaments cover its central area at the front and back as well as on the top. They are flanked around the body by stylised trees, and on the top they are surrounded by small crosses and triangles. This decoration is formed from circular drill-holes and dots. The underside of the chess piece has a peculiar feature: three circular holes have been drilled and filled with lead. No single explanation for this has yet been determined. Could it have been to make the piece heavier?  \nThe cross-shaped ornamentation is repeated conspicuously. It is probable that this chess piece was made in Sicily. It has been made according to the traditional manufacture of abstract Arab game pieces, which were customarily employed in southern Italy up until the AH 6th / 12th century.","short_description":"In Islamic countries the game of chess was played with highly stylised figures such as this figure of a king. Decorated with a pattern of circles this ivory chessman is from southern Italy or Sicily, a region that once was part of the Fatimid empire and was thus deeply influenced by Islamic culture.","type":"Chess piece, ivory","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 4th–5th centuries / 10th–11th centuries.","location":"Berlin","dimensions":"Height 7 cm, diameter 6.4 cm.","method_for_datation":"Similar chess pieces have been dated to the 11th–12th century because of their circular dot decoration, which was characteristic of some works of art made during this period in southern Italy.","method_for_provenance":"Similar chess pieces and similarly decorated ivory caskets are attributed to southern Italy or Sicily.","provenance":"Southern Italy or Sicily.","obtention":"Acquired from an art dealer in 1925.","bibliography":"*Chess: East and West, Past and Present*, Catalogue, New York, 1968.  \nContadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice”, in *Islamic Art in the Ashmolean Museum, Part One*, (ed. J. Allan), Oxford Studies in Islamic Art X, Oxford, 1955, pp.111–54, fig. 54.  \nKluge-Pinsker, A., *Schachspiel und Trictac: Zeugnisse Mittelalterlicher Spielfreude in Salischer Zeit*, Sigmaringen, 1991, pp.50–4, fig. 27.  \nKühnel, E., *Die Islamischen Elfenbeinskulpturen, VIII–XIII Jh.*, Berlin, 1971, no. 9, plate V.  \nWichmann, S. and Wichmann, H., *Schach: Ursprung und Wandlung der Spielfigur in Zwölf Jahrhunderten*, Munich, 1960, 282, no. 5, fig. 5.","dynasty":"Fatimid or Norman","linkcatalogs":"IAM_IT_EN_001","author":"Jens Kröger","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["ivory","rock-crystal","Sicily"],"materials":["Ivory, lead."]},"fc54f94b-2c73-539f-9c72-9e5bbc3cae2d":{"name":"Folding backgammon board","short_description":"The board is made of three hinged wooden panels with lobed feet that interlock when folded to form a rectangular box. The principal decoration on the playing surface consists of medallions of various shapes enclosing couples in European dress, a couple in Iranian dress and a woman nursing a child. They are arranged around a central bouquet of flowers within elaborate borders.  \nThe main decoration has been attributed to the court painter Muhammad Hasan, who worked primarily in oils. He is known to have painted a miniature of Fath ‘Ali Shah enthroned in AH 1234 (AD 1818–19).","type":"Backgammon board; game; gaming board; portable board; lacquer-painted board","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Early 19th century","location":"London","dimensions":"69 x 45 x 11.2cm (open); 69 x 16.4 x 16.8cm (closed)","method_for_datation":"Date and provenance are based on stylistic grounds.","provenance":"Iran","bibliography":"Khalili, N.D., Robinson, B.W., and Stanley, T., *Lacquer of the Islamic Lands*, London: The Nasser D. Khalili Collection of Islamic Art, volume 22, Part One, 1996: cat.131, pp.178–9.  \nMackenzie, C., and Finkel, I. (eds), *Asian Games: The Art of Contest*, New York: Asia Society, 2004, no.7:6, 93.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.470, pp.386–7.","dynasty":"Qajar","keywords":["backgammon","Iran","lacquerwork","Qajar","watercolour","wood"],"materials":["base metal hinges","Wood, painted in opaque watercolour and varnished"]}}

package/translations/items.es.json

@@ -1 +1 @@
-{"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figura de bailarina","description":"La estatuilla, que parece representar a una bailarina, debió de utilizarse como juguete. El negro cabello está despeinado. El rostro, redondo, con ojos intensamente marcados y afiliada nariz, no guarda proporción con el resto del cuerpo. El cuello es relativamente largo y bastante ancho. El pecho es bastante prominente, mientras que el vientre, marcado por dos estrías superpuestas, es de una gran esbeltez.  \nLa figura carece de miembros superiores; sus miembros inferiores, a los que les faltan los pies, están cubiertos con un pantalón de estilo oriental (*sirwal*).  \nLa figura es de marfil, pero tiene en su interior una estructura de madera a fin de dotarla de cierta rigidez. A pesar de no ser armoniosa, la estatuilla está modelada con elegancia. Los rasgos del rostro son típicamente mesopotámicos y se asemejan a varias representaciones análogas encontradas en platos de cerámica o en objetos de estuco.","short_description":"Esta figurita de marfil representa a una bailarina con rasgos típicamente mesopotámicos y está modelada con elegancia. Una estructura de madera le proporciona una cierta rigidez. Se asemeja a varias representaciones análogas encontradas en platos de cerámica o en objetos de estuco.","holder":"Museo del Ribat","initial_owner":"Hasan Hosni Abdelwahab.","dates":"Siglo III de la Hégira / IX d. C.","location":"Monastir","dimensions":"Alto 18 cm, ancho 4,5 cm","method_for_datation":"Varias representaciones humanas iraníes, fechadas en los siglos III-IV / IX-X, presentan grandes semejanzas con esta estatuilla egipcia. Es muy probable que se trate de una importación de Mesopotamia, en época tuluní, o de una copia realizada según el estilo oriental.","method_for_provenance":"Analogías estilísticas.","provenance":"Egipto.","obtention":"El difunto H. H. Abdelwahab compró esta pieza en 1958 a un anticuario egipcio. Ese mismo año, la donó al Museo del Ribat de Monastir.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración figurativa","escultura","marfil"],"materials":["base de madera.","Marfil"]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Pieza de ajedrez","description":"Gran pieza de ajedrez cilíndrica con círculos concéntricos, puntos y líneas incisos. Se trata de una pieza abstracta que probablemente representaba al rey o la reina.  \nEl juego del ajedrez es originario de la India y en el siglo I / VI llegó a la Persia sasánida. A mediados del siglo III / IX aparecen los primeros tratados árabes sobre ajedrez. El juego pasa del mundo árabe al mundo occidental, donde las piezas se modelan a menudo según los patrones islámicos.  \nEsta pieza formaría parte de un ajedrez impresionante. En el Museo de Arte Islámico de Berlín hay una pieza casi idéntica.  \nLos fatimíes de Egipto encargaban muchos objetos de lujo de marfil. Tras la conquista de Sicilia, a principios del siglo IV / X, los artesanos musulmanes pudieron asentarse en la isla, lo que se tradujo en una transferencia de técnicas pictóricas y artes decorativas de estilo fatimí, estilo que se perpetuó incluso después de la conquista normanda del año 477 / 1085.","short_description":"El juego del ajedrez es originario de la India, pero se extendió rápidamente al mundo islámico y más allá de él. Esta pieza de ajedrez de marfil debió de formar parte de un lujoso ajedrez hecho para un personaje de alto rango o para la corte real fatimí.","holder":"Museo Británico","dates":"Siglo IV o V de la Hégira / X o XI d. C.","location":"Londres, Inglaterra","dimensions":"Altura 5,6 cm, diámetro 5,1 cm.","method_for_datation":"Por el material en que está hecha y por su forma, esta pieza se relaciona con otras piezas del Egipto fatimí de los siglos IV-V / X-XI. Por su similitud con un rey o una reina de un juego de ajedrez en cristal de roca del museo Victoria & Albert datada a principios del siglo IV / X, se cree que esta pieza de marfil pueda ser contemporánea suya.","method_for_provenance":"Esta pieza debió de tallarse en el Egipto fatimí o en Sicilia en el siglo VI o el V / X o XI.","provenance":"Egipto o Sicilia.","obtention":"Adquirida en 1862.","bibliography":"Contadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum”, en **Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art**, Oxford, 1995.  \nPhillips, T. (ed.), **Africa: The Art of a Continent**, Londres, 1996, pp. 582–83, núm. cat. 7.49.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","materials":["Marfil."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Pieza de ajedrez.","description":"El juego del ajedrez tiene su origen, probablemente, en la India y llegó al mundo islámico a través de la Persia sasánida. Los árabes se caracterizaron por usar piezas abstractas hechas de materiales preciados como el marfil o el cristal de roca. Un importante número de piezas de cristal de roca pasaron a formar parte de los tesoros de las iglesias europeas.  \nLlama la atención el gran tamaño de esta pieza; para fabricarla debió de utilizarse la parte más valiosa de un colmillo de buena calidad. Sólo la élite de la sociedad pudo permitirse encargar piezas de ajedrez de este tamaño.  \nPresenta una forma cilíndrica ancha y baja, con una especie de hombro redondeado y un botón en la superficie plana superior. Probablemente se trataba del rey.  \nSu decoración es muy interesante. Estilizados adornos cruciformes y semejantes a flores cubren la parte central y también el \"hombro\". Alrededor del cuerpo, están flanqueadas por árboles muy estilizados y, en la parte redondeada, por pequeñas cruces y triángulos. La decoración cruciforme se repite también en la franja inferior. Toda esta decoración está hecha a base de burilados circulares y puntos. Presenta un elemento muy peculiar en la superficie de apoyo: tres agujeros rellenados con plomo. No se ha dado aún ninguna explicación para esto. ¿Sería para hacer la pieza más pesada?  \nProbablemente esta pieza fue tallada en Sicilia de acuerdo con la fabricación tradicional de este tipo de piezas abstractas, muy utilizadas en el sur de Italia hasta el siglo VI / XII.","short_description":"En los países islámicos se jugaba al ajedrez con piezas muy abstractas, como este rey de marfil decorada con dibujos circulares. Procede del sur de Italia o Sicilia, regiones que formaban parte del imperio fatimí y estaban muy influenciadas por la cultura islámica.","holder":"Museo de Arte Islámico del Museo Pergamon","dates":"Siglos V-VI de la Hégira / X-XI d.C.","location":"Berlín","dimensions":"Alto 7 cm, diámetro 6,4 cm.","method_for_datation":"Basándose en la decoración de círculos, característica de algunas de las obras de este periodo en el sur de Italia, ésta y otras piezas similares han sido datadas en los siglos V-VI / XI-XII.","method_for_provenance":"Piezas de ajedrez similares y arquetas de marfil con decoración parecida han sido atribuidas al sur de Italia y Sicilia.","provenance":"Sur de Italia o Sicilia.","obtention":"Adquirida a un marchante de arte en 1925.","bibliography":"*Chess: East and West, Past and Present*, catálogo, Nueva York, 1968.  \nContadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice”, *Islamic Art in the Ashmolean Museum, Part One* (ed. J. Allan), , Oxford, 1955, pp. 111–154, figura 54.  \nKluge-Pinsker, A., *Schachspiel und Trictac: Zeugnisse Mittelalterlicher Spielfreude in Salischer Zeit*, Sigmaringen, 1991, pp. 50–54, figura 27.  \nKühnel, E., *Die Islamischen Elfenbeinskulpturen, VIII–XIII Jh.*, Berlín, 1971, núm. 9, lámina V.  \nWichmann, S. y Wichmann, H., *Schach: Ursprung und Wandlung der Spielfigur in Zwölf Jahrhunderten*, Munich, 1960, 282, n.º 5, figura 5.","author":"Jens Kröger","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["ajedrez","cristal de roca","marfil","pieza de ajedrez","Sicilia"],"materials":["Marfil y plomo."]}}
+{"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figura de bailarina","description":"La estatuilla, que parece representar a una bailarina, debió de utilizarse como juguete. El negro cabello está despeinado. El rostro, redondo, con ojos intensamente marcados y afiliada nariz, no guarda proporción con el resto del cuerpo. El cuello es relativamente largo y bastante ancho. El pecho es bastante prominente, mientras que el vientre, marcado por dos estrías superpuestas, es de una gran esbeltez.  \nLa figura carece de miembros superiores; sus miembros inferiores, a los que les faltan los pies, están cubiertos con un pantalón de estilo oriental (*sirwal*).  \nLa figura es de marfil, pero tiene en su interior una estructura de madera a fin de dotarla de cierta rigidez. A pesar de no ser armoniosa, la estatuilla está modelada con elegancia. Los rasgos del rostro son típicamente mesopotámicos y se asemejan a varias representaciones análogas encontradas en platos de cerámica o en objetos de estuco.","short_description":"Esta figurita de marfil representa a una bailarina con rasgos típicamente mesopotámicos y está modelada con elegancia. Una estructura de madera le proporciona una cierta rigidez. Se asemeja a varias representaciones análogas encontradas en platos de cerámica o en objetos de estuco.","holder":"Museo del Ribat","initial_owner":"Hasan Hosni Abdelwahab.","dates":"Siglo III de la Hégira / IX d. C.","location":"Monastir","dimensions":"Alto 18 cm, ancho 4,5 cm","method_for_datation":"Varias representaciones humanas iraníes, fechadas en los siglos III-IV / IX-X, presentan grandes semejanzas con esta estatuilla egipcia. Es muy probable que se trate de una importación de Mesopotamia, en época tuluní, o de una copia realizada según el estilo oriental.","method_for_provenance":"Analogías estilísticas.","provenance":"Egipto.","obtention":"El difunto H. H. Abdelwahab compró esta pieza en 1958 a un anticuario egipcio. Ese mismo año, la donó al Museo del Ribat de Monastir.","dynasty":"Abbasíes","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración figurativa","escultura","marfil"],"materials":["Marfil, base de madera."]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Pieza de ajedrez","description":"Gran pieza de ajedrez cilíndrica con círculos concéntricos, puntos y líneas incisos. Se trata de una pieza abstracta que probablemente representaba al rey o la reina.  \nEl juego del ajedrez es originario de la India y en el siglo I / VI llegó a la Persia sasánida. A mediados del siglo III / IX aparecen los primeros tratados árabes sobre ajedrez. El juego pasa del mundo árabe al mundo occidental, donde las piezas se modelan a menudo según los patrones islámicos.  \nEsta pieza formaría parte de un ajedrez impresionante. En el Museo de Arte Islámico de Berlín hay una pieza casi idéntica.  \nLos fatimíes de Egipto encargaban muchos objetos de lujo de marfil. Tras la conquista de Sicilia, a principios del siglo IV / X, los artesanos musulmanes pudieron asentarse en la isla, lo que se tradujo en una transferencia de técnicas pictóricas y artes decorativas de estilo fatimí, estilo que se perpetuó incluso después de la conquista normanda del año 477 / 1085.","short_description":"El juego del ajedrez es originario de la India, pero se extendió rápidamente al mundo islámico y más allá de él. Esta pieza de ajedrez de marfil debió de formar parte de un lujoso ajedrez hecho para un personaje de alto rango o para la corte real fatimí.","holder":"Museo Británico","dates":"Siglo IV o V de la Hégira / X o XI d. C.","location":"Londres, Inglaterra","dimensions":"Altura 5,6 cm, diámetro 5,1 cm.","method_for_datation":"Por el material en que está hecha y por su forma, esta pieza se relaciona con otras piezas del Egipto fatimí de los siglos IV-V / X-XI. Por su similitud con un rey o una reina de un juego de ajedrez en cristal de roca del museo Victoria & Albert datada a principios del siglo IV / X, se cree que esta pieza de marfil pueda ser contemporánea suya.","method_for_provenance":"Esta pieza debió de tallarse en el Egipto fatimí o en Sicilia en el siglo VI o el V / X o XI.","provenance":"Egipto o Sicilia.","obtention":"Adquirida en 1862.","bibliography":"Contadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum”, en **Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art**, Oxford, 1995.  \nPhillips, T. (ed.), **Africa: The Art of a Continent**, Londres, 1996, pp. 582–83, núm. cat. 7.49.","dynasty":"Fatimíes","author":"Emily Shovelton","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","materials":["Marfil."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Pieza de ajedrez.","description":"El juego del ajedrez tiene su origen, probablemente, en la India y llegó al mundo islámico a través de la Persia sasánida. Los árabes se caracterizaron por usar piezas abstractas hechas de materiales preciados como el marfil o el cristal de roca. Un importante número de piezas de cristal de roca pasaron a formar parte de los tesoros de las iglesias europeas.  \nLlama la atención el gran tamaño de esta pieza; para fabricarla debió de utilizarse la parte más valiosa de un colmillo de buena calidad. Sólo la élite de la sociedad pudo permitirse encargar piezas de ajedrez de este tamaño.  \nPresenta una forma cilíndrica ancha y baja, con una especie de hombro redondeado y un botón en la superficie plana superior. Probablemente se trataba del rey.  \nSu decoración es muy interesante. Estilizados adornos cruciformes y semejantes a flores cubren la parte central y también el \"hombro\". Alrededor del cuerpo, están flanqueadas por árboles muy estilizados y, en la parte redondeada, por pequeñas cruces y triángulos. La decoración cruciforme se repite también en la franja inferior. Toda esta decoración está hecha a base de burilados circulares y puntos. Presenta un elemento muy peculiar en la superficie de apoyo: tres agujeros rellenados con plomo. No se ha dado aún ninguna explicación para esto. ¿Sería para hacer la pieza más pesada?  \nProbablemente esta pieza fue tallada en Sicilia de acuerdo con la fabricación tradicional de este tipo de piezas abstractas, muy utilizadas en el sur de Italia hasta el siglo VI / XII.","short_description":"En los países islámicos se jugaba al ajedrez con piezas muy abstractas, como este rey de marfil decorada con dibujos circulares. Procede del sur de Italia o Sicilia, regiones que formaban parte del imperio fatimí y estaban muy influenciadas por la cultura islámica.","holder":"Museo de Arte Islámico del Museo Pergamon","dates":"Siglos V-VI de la Hégira / X-XI d.C.","location":"Berlín","dimensions":"Alto 7 cm, diámetro 6,4 cm.","method_for_datation":"Basándose en la decoración de círculos, característica de algunas de las obras de este periodo en el sur de Italia, ésta y otras piezas similares han sido datadas en los siglos V-VI / XI-XII.","method_for_provenance":"Piezas de ajedrez similares y arquetas de marfil con decoración parecida han sido atribuidas al sur de Italia y Sicilia.","provenance":"Sur de Italia o Sicilia.","obtention":"Adquirida a un marchante de arte en 1925.","bibliography":"*Chess: East and West, Past and Present*, catálogo, Nueva York, 1968.  \nContadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice”, *Islamic Art in the Ashmolean Museum, Part One* (ed. J. Allan), , Oxford, 1955, pp. 111–154, figura 54.  \nKluge-Pinsker, A., *Schachspiel und Trictac: Zeugnisse Mittelalterlicher Spielfreude in Salischer Zeit*, Sigmaringen, 1991, pp. 50–54, figura 27.  \nKühnel, E., *Die Islamischen Elfenbeinskulpturen, VIII–XIII Jh.*, Berlín, 1971, núm. 9, lámina V.  \nWichmann, S. y Wichmann, H., *Schach: Ursprung und Wandlung der Spielfigur in Zwölf Jahrhunderten*, Munich, 1960, 282, n.º 5, figura 5.","dynasty":"Fatimíes o normandos","author":"Jens Kröger","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["ajedrez","cristal de roca","marfil","pieza de ajedrez","Sicilia"],"materials":["Marfil y plomo."]}}

package/translations/items.fr.json

@@ -1 +1 @@
-{"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figurine d’une danseuse.","description":"La figurine semble représenter une danseuse et servait très probablement de jouet. La chevelure noire est désordonnée. Le visage, arrondi avec des yeux bien marqués et un nez très fin, paraît disproportionné par rapport au reste du corps. Le cou, relativement long, est de gros calibre. Les seins sont assez développés alors que le ventre, très svelte, est marqué par deux rainures superposées. La figurine est amputée de ses membres supérieurs. Ses membres inférieurs, auxquels il manque les pieds, sont couverts d'un pantalon de type oriental (sirwal). La carcasse de la figurine, à l'intérieur de laquelle fut introduite une structure en bois pour lui assurer une certaine rigidité, est en ivoire massif. Sans être harmonieuse, la figurine est très finement modelée. Les traits du visage sont typiquement mésopotamiens et ressemblent à plusieurs représentations analogues sur des plats de céramique ou des objets en stuc.","short_description":"Représentant une danseuse à la physionomie typiquement mésopotamienne, la figurine, finement modelée, est en ivoire massif. Une structure en bois assure une certaine rigidité à sa carcasse. Elle est comparable à plusieurs représentations analogues sur les plats de céramique ou des objets en stuc.","holder":"Musée du Ribat","dates":"IIIe siècle de l’Hégire (IXe siècle J.-C.).","location":"Monastir","dimensions":"L. 18 cm, l. 4,5 cm.","method_for_datation":"Plusieurs représentations humaines iraniennes, datables des IIIe-IVe siècles H (IXe-Xe siècles J.-C.) offrent des analogies certaines avec la figurine égyptienne. Il est fort probable qu'elle constitue une importation de la Mésopotamie, à l'époque toulounide, ou une copie exécutée selon le modèle oriental.","method_for_provenance":"Analogies stylistiques.","provenance":"Très probablement, l’Egypte.","obtention":"Cette pièce a été achetée, en 1958, par feu H. H. Abdelwahab chez un antiquaire égyptien. Il en a fait don au musée du Ribat de Monastir au cours de la même année.","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["décoration figurative","ivoire","sculpture"],"materials":["Ivoire et ossature en bois."]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Pièce de jeu d’échecs.","description":"Importante pièce de jeu d'échec cylindrique, gravée de cercles concentriques, de points et de lignes. Abstraite, elle représente probablement un roi ou une reine. Originaire de l'Inde, le jeu d'échecs avait atteint la Perse pendant la période sassanide au Ier siècle H (VIe siècle J.-C.). Des traités d'échecs arabes apparurent au milieu du IIIe siècle H (IXe siècle J.-C.). La connaissance du jeu passa ensuite en Occident où les pièces furent souvent modelées d'après les prototypes islamiques. Celle-ci faisait sans doute partie d'un jeu particulièrement luxueux. Une pièce presque identique se trouve aujourd'hui au Muséede l'art islamique à Berlin. Les Fatimides d'Égypte étaient des clients actifs de ce type d'objets de luxe en ivoire. Après leur conquête de la Sicile au début du IVe siècle H (Xe siècle J.-C.), la voie était ouverte pour l'installation d'artisans musulmans dans ce pays, et l'on assista à un transfert de styles fatimides dans la peinture et dans les arts décoratifs qui se poursuivit même après la conquête de l'île par les Normands en 477 H / 1085 J.-C.","short_description":"Le jeu d'échec est né en Inde, mais il est très vite devenu populaire dans tout le monde islamique et au-delà. Cette grande pièce en ivoire a dû appartenir à un jeu luxueux réalisé pour un commanditaire de haut rang ou pour la cour royale fatimide.","holder":"The British Museum.","dates":"IVe-Ve siècle de l’Hégire (Xe ou XIe siècle J.-C.).","location":"Londres","dimensions":"H. 5,6 cm, Ø 5,1 cm.","method_for_datation":"La forme et le matériau de cette pièce renvoient à d'autres exécutées en Égypte fatimide au IVe ou Ve/Xe ou XIe siècle. Il est possible que cette pièce d'ivoire soit contemporaine d'une autre de forme très similaire, représentant un autre roi ou une autre reine, en cristal de roche conservée au Victoria and Albert Museum de Londres, datée du début du IVe/Xe siècle.","method_for_provenance":"Cette pièce a sans doute été fabriquée dans l'Égypte fatimide ou en Sicile au IVe ou Ve/Xe ou XIe siècle.","provenance":"Égypte ou Sicile.","obtention":"Acheté par le British Museum en 1862.","bibliography":"Contadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum”, *Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art*, Oxford, 1995.  \nPhillips, T. (dir.), *Africa: The Art of a Continent*, Londres, 1996, pp. 582-583, cat. n° 7.49.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","materials":["Ivoire."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Pièce d’échecs.","description":"Le jeu d'échecs apparut vraisemblablement en Inde et fut introduit dans le monde islamique par la Perse sassanide. Les Arabes privilégièrent les figures abstraites, cette pièce en est un exemple, en matériaux nobles comme l'ivoire ou le cristal de roche. De nombreuses pièces de cristal de roche sont conservées dans les trésors d'église en Europe.  \nNe serait-ce que par ses dimensions, ce spécimen fait partie des exemplaires les plus remarquables, puisque, pour sa fabrication, il a fallu employer une défense de première qualité et dans celle-ci la partie massive qui est la plus précieuse. La commande d'un jeu doté de pièces d'ivoire de cette taille vient fort probablement des plus hautes sphères de la société.  \nLa pièce présente une forme ramassée et cylindrique avec un épaulement arrondi et une sommité en forme de bouton. Cette forme l'apparente au groupe des pièces abstraites. Elle figure probablement le roi. Le décor est particulièrement intéressant : dans les parties médianes, sur les côtés antérieur et postérieur, des ornements floraux cruciformes stylisés. Sur tout le pourtour de la pièce, ils sont flanqués d'arbres stylisés, tandis que, dans la partie sommitale, ils sont environnés de petites croix et de triangles. Le décor est exécuté en forages circulaires et en points. Le dessous de la pièce présente une particularité : trois forages garnis de plomb. Rien ne permet d'en déterminer la destination précise. Servaient-ils à lester l'objet ?  \nLa répétition de l'ornement cruciforme est particulièrement remarquable. La pièce a vraisemblablement été fabriquée en Sicile. D'un point de vue formel, elle prolonge la tradition arabe des pièces d'échecs abstraites qui étaient courantes en Italie du Sud jusqu'au VIe siècle H (XIIe siècle J.-C.).","short_description":"Dans les pays islamiques, le jeu d'échecs se pratiquait avec des pièces très stylisées comme cette figure de roi. Décorée d'un motif de cercles, cette pièce d'échec en ivoire vient du sud de l'Italie ou de la Sicile, une région qui faisait autrefois partie de l'empire fatimide et qui fut fortement influencée par la culture islamique.","holder":"Museum für Islamische Kunst","dates":"IVe-Ve siècle de l’Hégire (Xe-XIe siècle J.-C.).","location":"Berlin","dimensions":"H. 7 cm, Ø 6,4 cm.","method_for_datation":"Le décor de points circulaires, caractéristique d'un certain nombre d'œuvres de l'Italie du Sud à cette période, permet de dater la pièce du XIe-XIIe siècle J.-C.","method_for_provenance":"Les pièces d'échecs similaires ainsi que les coffrets d'ivoire agrémentés de décor de ce type sont attribués à l'Italie du Sud ou à la Sicile.","provenance":"Italie du Sud ou Sicile.","obtention":"Achetée en 1925.","bibliography":"*Chess: East and West, Past and Present* (catalogue)*,* New York, 1968.  \nContadini, A., “Islamic Ivory Pieces, Draughtmen and Dice”, *Islamic Art in the Ashmolean Museum, Part One* (J. Allan éd.)., Oxford Studies in Islamic Art X, Oxford, pp. 111-154, fig. 54.  \nKluge-Pinsker, A., *Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer Zeit,* Sigmaringen, 1991, pp. 50-54, ill. 27.  \nKühnel, E., *Die islamischen Elfenbeinskulpturen VIII.-XIII. Jh,* Berlin, 1971, cat. n° 9, pl. V.  \nWichmann, S. et H., *Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten,* Munich, 1960, 282, cat. n° 5, ill. 5.","linkcatalogs":"IAM_IT_FR_001","author":"Jens Kröger","translator":"Arlette Camion(de l’allemand).","translation_copy_editor":"Margot Cortez","keywords":["cristal de roche","ivoire","jeu d’échecs","pièce d’échecs","Sicile"],"materials":["Ivoire","plomb."]}}
+{"8845579c-c381-5bae-bc18-01294691208f":{"name":"Figurine d’une danseuse.","description":"La figurine semble représenter une danseuse et servait très probablement de jouet. La chevelure noire est désordonnée. Le visage, arrondi avec des yeux bien marqués et un nez très fin, paraît disproportionné par rapport au reste du corps. Le cou, relativement long, est de gros calibre. Les seins sont assez développés alors que le ventre, très svelte, est marqué par deux rainures superposées. La figurine est amputée de ses membres supérieurs. Ses membres inférieurs, auxquels il manque les pieds, sont couverts d'un pantalon de type oriental (sirwal). La carcasse de la figurine, à l'intérieur de laquelle fut introduite une structure en bois pour lui assurer une certaine rigidité, est en ivoire massif. Sans être harmonieuse, la figurine est très finement modelée. Les traits du visage sont typiquement mésopotamiens et ressemblent à plusieurs représentations analogues sur des plats de céramique ou des objets en stuc.","short_description":"Représentant une danseuse à la physionomie typiquement mésopotamienne, la figurine, finement modelée, est en ivoire massif. Une structure en bois assure une certaine rigidité à sa carcasse. Elle est comparable à plusieurs représentations analogues sur les plats de céramique ou des objets en stuc.","holder":"Musée du Ribat","dates":"IIIe siècle de l’Hégire (IXe siècle J.-C.).","location":"Monastir","dimensions":"L. 18 cm, l. 4,5 cm.","method_for_datation":"Plusieurs représentations humaines iraniennes, datables des IIIe-IVe siècles H (IXe-Xe siècles J.-C.) offrent des analogies certaines avec la figurine égyptienne. Il est fort probable qu'elle constitue une importation de la Mésopotamie, à l'époque toulounide, ou une copie exécutée selon le modèle oriental.","method_for_provenance":"Analogies stylistiques.","provenance":"Très probablement, l’Egypte.","obtention":"Cette pièce a été achetée, en 1958, par feu H. H. Abdelwahab chez un antiquaire égyptien. Il en a fait don au musée du Ribat de Monastir au cours de la même année.","dynasty":"Abbasside","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["décoration figurative","ivoire","sculpture"],"materials":["Ivoire et ossature en bois."]},"e7f528ce-cc22-5805-85cd-54b2590d990f":{"name":"Pièce de jeu d’échecs.","description":"Importante pièce de jeu d'échec cylindrique, gravée de cercles concentriques, de points et de lignes. Abstraite, elle représente probablement un roi ou une reine. Originaire de l'Inde, le jeu d'échecs avait atteint la Perse pendant la période sassanide au Ier siècle H (VIe siècle J.-C.). Des traités d'échecs arabes apparurent au milieu du IIIe siècle H (IXe siècle J.-C.). La connaissance du jeu passa ensuite en Occident où les pièces furent souvent modelées d'après les prototypes islamiques. Celle-ci faisait sans doute partie d'un jeu particulièrement luxueux. Une pièce presque identique se trouve aujourd'hui au Muséede l'art islamique à Berlin. Les Fatimides d'Égypte étaient des clients actifs de ce type d'objets de luxe en ivoire. Après leur conquête de la Sicile au début du IVe siècle H (Xe siècle J.-C.), la voie était ouverte pour l'installation d'artisans musulmans dans ce pays, et l'on assista à un transfert de styles fatimides dans la peinture et dans les arts décoratifs qui se poursuivit même après la conquête de l'île par les Normands en 477 H / 1085 J.-C.","short_description":"Le jeu d'échec est né en Inde, mais il est très vite devenu populaire dans tout le monde islamique et au-delà. Cette grande pièce en ivoire a dû appartenir à un jeu luxueux réalisé pour un commanditaire de haut rang ou pour la cour royale fatimide.","holder":"The British Museum.","dates":"IVe-Ve siècle de l’Hégire (Xe ou XIe siècle J.-C.).","location":"Londres","dimensions":"H. 5,6 cm, Ø 5,1 cm.","method_for_datation":"La forme et le matériau de cette pièce renvoient à d'autres exécutées en Égypte fatimide au IVe ou Ve/Xe ou XIe siècle. Il est possible que cette pièce d'ivoire soit contemporaine d'une autre de forme très similaire, représentant un autre roi ou une autre reine, en cristal de roche conservée au Victoria and Albert Museum de Londres, datée du début du IVe/Xe siècle.","method_for_provenance":"Cette pièce a sans doute été fabriquée dans l'Égypte fatimide ou en Sicile au IVe ou Ve/Xe ou XIe siècle.","provenance":"Égypte ou Sicile.","obtention":"Acheté par le British Museum en 1862.","bibliography":"Contadini, A., “Islamic Ivory Chess Pieces, Draughtsmen and Dice in the Ashmolean Museum”, *Islamic Art in the Ashmolean Museum: Oxford Studies in Islamic Art*, Oxford, 1995.  \nPhillips, T. (dir.), *Africa: The Art of a Continent*, Londres, 1996, pp. 582-583, cat. n° 7.49.","dynasty":"Fatimide","author":"Emily Shovelton","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","materials":["Ivoire."]},"f22479d3-546f-553a-8322-e8c56a9254ef":{"name":"Pièce d’échecs.","description":"Le jeu d'échecs apparut vraisemblablement en Inde et fut introduit dans le monde islamique par la Perse sassanide. Les Arabes privilégièrent les figures abstraites, cette pièce en est un exemple, en matériaux nobles comme l'ivoire ou le cristal de roche. De nombreuses pièces de cristal de roche sont conservées dans les trésors d'église en Europe.  \nNe serait-ce que par ses dimensions, ce spécimen fait partie des exemplaires les plus remarquables, puisque, pour sa fabrication, il a fallu employer une défense de première qualité et dans celle-ci la partie massive qui est la plus précieuse. La commande d'un jeu doté de pièces d'ivoire de cette taille vient fort probablement des plus hautes sphères de la société.  \nLa pièce présente une forme ramassée et cylindrique avec un épaulement arrondi et une sommité en forme de bouton. Cette forme l'apparente au groupe des pièces abstraites. Elle figure probablement le roi. Le décor est particulièrement intéressant : dans les parties médianes, sur les côtés antérieur et postérieur, des ornements floraux cruciformes stylisés. Sur tout le pourtour de la pièce, ils sont flanqués d'arbres stylisés, tandis que, dans la partie sommitale, ils sont environnés de petites croix et de triangles. Le décor est exécuté en forages circulaires et en points. Le dessous de la pièce présente une particularité : trois forages garnis de plomb. Rien ne permet d'en déterminer la destination précise. Servaient-ils à lester l'objet ?  \nLa répétition de l'ornement cruciforme est particulièrement remarquable. La pièce a vraisemblablement été fabriquée en Sicile. D'un point de vue formel, elle prolonge la tradition arabe des pièces d'échecs abstraites qui étaient courantes en Italie du Sud jusqu'au VIe siècle H (XIIe siècle J.-C.).","short_description":"Dans les pays islamiques, le jeu d'échecs se pratiquait avec des pièces très stylisées comme cette figure de roi. Décorée d'un motif de cercles, cette pièce d'échec en ivoire vient du sud de l'Italie ou de la Sicile, une région qui faisait autrefois partie de l'empire fatimide et qui fut fortement influencée par la culture islamique.","holder":"Museum für Islamische Kunst","dates":"IVe-Ve siècle de l’Hégire (Xe-XIe siècle J.-C.).","location":"Berlin","dimensions":"H. 7 cm, Ø 6,4 cm.","method_for_datation":"Le décor de points circulaires, caractéristique d'un certain nombre d'œuvres de l'Italie du Sud à cette période, permet de dater la pièce du XIe-XIIe siècle J.-C.","method_for_provenance":"Les pièces d'échecs similaires ainsi que les coffrets d'ivoire agrémentés de décor de ce type sont attribués à l'Italie du Sud ou à la Sicile.","provenance":"Italie du Sud ou Sicile.","obtention":"Achetée en 1925.","bibliography":"*Chess: East and West, Past and Present* (catalogue)*,* New York, 1968.  \nContadini, A., “Islamic Ivory Pieces, Draughtmen and Dice”, *Islamic Art in the Ashmolean Museum, Part One* (J. Allan éd.)., Oxford Studies in Islamic Art X, Oxford, pp. 111-154, fig. 54.  \nKluge-Pinsker, A., *Schachspiel und Trictrac. Zeugnisse mittelalterlicher Spielfreude in salischer Zeit,* Sigmaringen, 1991, pp. 50-54, ill. 27.  \nKühnel, E., *Die islamischen Elfenbeinskulpturen VIII.-XIII. Jh,* Berlin, 1971, cat. n° 9, pl. V.  \nWichmann, S. et H., *Schach. Ursprung und Wandlung der Spielfigur in zwölf Jahrhunderten,* Munich, 1960, 282, cat. n° 5, ill. 5.","dynasty":"Fatimide ou normande","linkcatalogs":"IAM_IT_FR_001","author":"Jens Kröger","translator":"Arlette Camion(de l’allemand).","translation_copy_editor":"Margot Cortez","keywords":["cristal de roche","ivoire","jeu d’échecs","pièce d’échecs","Sicile"],"materials":["Ivoire, plomb."]}}