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+{"0c0f679d-8d6d-5029-909d-ce520571b901":{"name":"*Council of the Gods*","description":"The fresco was commissioned from Lanfranco by Cardinal Scipione Borghese to decorate the vault of a large room on the first floor of Casino Pinciano, designed at the time as a loggia opening on to the residence's park. The painter came up with the idea of a trabeated system (a construction using lintels rather than arches) painted in perspective along the perimeter of the walls, supported by pairs of telamons (supports or columns sculpted in the form of a man) alternated with lunettes (crescent-shaped spaces). The lunettes are open to the horizon and contain exemplifications of the rivers of the world. The central panel is a *trompe-l'œil* of heaven, where the gods are gathered in council among the clouds. Among others, we can see Jupiter in a central position between the female figures of Juno and Venus, and moving right: Mars, recognisable by his helmet; Apollo, his head framed with light; Mercury in flight; Bacchus holding a bunch of grapes; a faun seated in the foreground, looking down towards the viewer. In the centre, beneath the father of the gods, we can see Pluto and Proserpine with the dog Cerberus; on the left: Neptune and Ceres; Time with his scythe; Pan, with the features of a satyr and, on the edge, Minerva with an olive branch. The simulation of an open space and the extraordinary imagination with which the figures, freed in space, are arranged, are clearly inspired by the works of his fellow 16th-century countryman Antonio Allegri, known as Correggio, who painted the frescos in the cupolas of Parma. The amplifications of form and the capacity to express freedom of imagination clearly show the strength of his creative innovation, which in the Villa Borghese loggia fresco, is the precise starting point of the era of great Baroque decoration.  \nAt the end of the 18th century, during the renovation of the residence, it was decided to close the loggia. Lanfranco's fresco was restored, beginning in 1779 and completed in 1782, by the Viterbo painter Domenico Corvi (1721–1803).","short_description":"The painter Lanfranco carried out one of the first examples of Baroque painting in Rome for Cardinal Scipione, *The Council of the Gods* in the loggia of Villa Borghese. Originally an open loggia, the large room was decorated by Lanfranco employing the illusionist device of the “*quadro riportato*” from the Roman tradition. The Loggia was closed in 1779 before being restored by Domenico Corvi, a Rome-based Neo-Classical painter.","type":"Painting","holder":"Borghese Gallery, vault of the Loggia","owner":"Italian State","dates":"1624-25","location":"Rome, Latium","obtention":"Villa Borghese was acquired by the Italian State in 1902.","bibliography":"Hibbard, H., “The date of Lanfranco's fresco in the Villa Borghese and other chronological problems” in *Miscellanea Bibliotheca Hertzianae in onore di L. Bruhns, F. Graf, W. Metternich, L. Schudt* (*Römische Forschungen der Bibliotheca Hertziana*, XIV, 1961), pp. 355–365.  \nFerrara, L., “Domenco Corvi nella Galleria Borghese”, in *Rivista Nazionale dell'Istituto d'Archeologia e Storia dell'Arte*, XXI–XXII, 1976, pp. 169–217.  \nFicacci, L., “Lanfranco e la nascita del Barocco”, in *Bernini scultore. La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 332–355.  \n*Giovanni Lanfranco. Un pittore barocco tra Parma, Roma e Napoli*, exhibition catalogue, (Parma, Naples, Rome), Milan, 2001, cat. D23, D24, D25, pp. 370–372.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Fresco","mythology","palatial architecture","quadro riportato","telamons","trompe-l'oeil"],"materials":["Fresco"]},"0c3648d9-9762-55ae-85a2-34844ebd664f":{"name":"Fresco from Qusayr Amra.","description":"A woman stands upright in front of a niche, lightly clothed but richly adorned with jewels. She is wearing jewelled armbands and a necklace around her neck with a circular pendant. There is a jewelled belt around her waist. Her dark hair, decorated with strings of white pearls, falls to her shoulders. The representation seems to consist of a niche that is flanked by two pillars on pedestals. Behind and to the side of the woman the niche appears to be hung with a blue cloth. The details are hard to make out, particularly along the lower part as it has been spoiled by graffiti.  \nThe painting comes from the main room of the Qusayr Amra Palace. This depiction is one of several pictures of women on the frescoes in the Qusayr Amra. Such depictions represented popular themes in Umayyad wall frescoes, and formed part of the figurative repertoire representing courtly life, which was lived with great expense and freedom during that period. Each of the painted women is portrayed wearing expensive jewellery and jewels. Some of the women are unclothed; others wear long robes. During this period courtly celebrations included feasts at which wine was drunk, concerts were presented, acrobats performed and singers entertained. Such festivities already featured in the sources dating from when the castle was first founded.","short_description":"This fragment of wall painting from the Umayyad palace of Qusayr Amra in Jordan shows a lightly clad woman adorned with beautiful jewellery within a niche. One of several frescoes of women in the throne room and baths of the palace, she represents the taste and courtly life of the time.","type":"Fresco, Qusayr Amra","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Reign of Caliph al-Walid I Hegira 86–96 / AD 705–715, probably after AH 92 / AD 711.","location":"Berlin","dimensions":"Height 205 cm, width 102 cm.","method_for_datation":"The work must date from the same period as the other paintings in Qusayr Amra as it shares the same context. The ‘Paintings of the Six Kings’ date Qusayr Amra as being built after 92 / 711 during the reign of al-Walid I.","method_for_provenance":"The work comes from the painter A. L. Mielich, who took the work shortly after the discovery of the paintings in Qusayr Amra was made. This guarantees its provenance. The work appears as a single object after its removal from the Qusayr Amra panels.","provenance":"Palace of Qusayr Amra, Jordan.","obtention":"Acquired in 1908 from A. L. Mielich, Vienna.","bibliography":"Almagro, M. *et al*., *Qusayr Amra: Residencia y Baños Omeyas en el Desierto de Jordania*, Madrid, 1975.  \nBaer, E., “Female Images in Early Islam”, *Damaszener Mitteilungen* 11, 1999, pp.13–24, plate 3.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Berkeley, 2004.  \nGrabar, O. “Umayyad Palaces Reconsidered”, *Ars Orientalis* 23, 1993, p.105, ill. 9.  \nHillenbrand, R. “La Dolce Vita in Early Islamic Syria: The Evidence of Later Umayyad Palaces”, *Art History* 5(1), 1982, pp.1–35.  \nKaiserliche Akademie der Wissenschaften (eds.), *Kuseijr Amra*, Vienna, 1907, Vol. 1 Text, p.210, Vol. 2 Plates, plate 23.  \n  \n*The Umayyads: The Rise of Islamic Art*, pp.120–3.","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["bath","Fresco","painting.","palace","Umayyad"],"materials":["Fresco painting on wall plaster","very damaged and peeled away."]},"1742423d-bc43-5549-97f2-886d73820309":{"name":"*The Apotheosis of Romulus*","description":"This extremely large fresco decorates the vault of the Entrance Hall of the Villa Borghese. It was carried out, along with decoration of the walls, during the renovation of the villa commissioned by Marcantonio IV Borghese, and directed by the architect Antonio Asprucci (1723–1808).  \nThe fresco showing the *Apotheosis of Romulus* was painted on the vault between 1775 and 1779 by the Sicilian painter Mariano Rossi. The mythical founder of Rome appears twice: in an almost central position in front of Jupiter and on the right-hand side with a wolf, a reference to the legendary founding of the eternal city. Furio Camillo appears on the side of the vault opposite the main entrance, an important name in the victorious battle against the invading Gauls, led by Brennus. The allegorical significance of this representation celebrates the connection between these two figures: Romulus as the founder of Rome, and Furio Camillo whose heroic actions led him to be known as the “Second Romulus” and honoured in ancient sources (*Eutropius*) as a new founder of the Fatherland. Given that the fresco was completed shortly after the birth of Camillo (1775–1832), the first-born son of Marcantonio IV, it was clearly meant as a celebration of his birth, particularly as the name of the young heir was the same as the most prestigious member of the family: Camillo Borghese, who became Pope Paul V (1552–1621), and whose image as the re-founder of Christian Rome exalted the glory and Romanity of the family.  \nThe extraordinary command of proportion and spatial background, the breadth and ease of the brushstrokes, and the magnificent scenery make this work one of the last splendours of Roman Baroque painting, by then influenced by 17th-century classicism, particularly in its Arcadian inspiration and clear, luminous colours.","short_description":"The painting is a celebration of both Roman civilisation and the Borghese family, painted to mark the birth of Marcantonio IV Borghese’s first son, Camillo. The work, by the Sicilian painter Mariano Rossi, is representative of the development of the late Baroque style.","type":"Fresco","holder":"Borghese Gallery, vault of the Entrance Hall","owner":"Italian State","dates":"1775–1779","location":"Rome, Latium","obtention":"Villa Borghese was acquired by the Italian State in 1902.","bibliography":"Petereit Guicciardi, S., *Das Casino Borghese: Dekoration und Inhalt*, Wien, 1983, pp. 5–8.  \nPaul, C., Mariano Rossi's Camillus Fresco in the Borghese Gallery, in *Art Bulletin,* 74, 1992, pp. 297–326.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Arcadia","Classical model","Fresco","mythology","Sicilian painters"],"materials":["Fresco"]},"1db2b71c-1b13-500e-b0ba-c510c7396de5":{"name":"Fragment of a mural painting.","description":"This fragment belongs to a group of fresco paintings that once adorned the walls of the second floor of Qasr al-Hayr al-Gharbi. It shows the face of a woman in three-quarter profile with a fashionable, delicate shawl wrapped around her head and draping over her shoulders. She wears earrings and the black curls of her hair frame her forehead and cheeks. She is situated amidst a background of geometric and stylised vegetal patterns.  \nHer features are those of an Arab woman. Archaeologists believe she is a songstress from the palace. Historical sources mention that songstresses were brought from the Hijaz region, in the western Arabian Desert, to sing in the Umayyad palaces of the Syrian Desert.","short_description":"This Umayyad painting presents distinctly Arab features of female beauty: the big almond-shaped kohl-lined eyes, the whiteness of the eyeball contrasting with the dark pupil, the Bedouin-style earrings and the distinctively draped headscarf.","type":"Painting, plaster","holder":"National Museum of Damascus.","initial_owner":"Caliph Hisham bin 'Abd al-Malik (r. 105-125 / 724–43).","dates":"Hegira 109 / AD 727.","location":"Damascus","dimensions":"Height 41 cm, width 39 cm.","method_for_datation":"This object, along with the rest of the palace complex, was dated according to the inscription located on the door lintel of the *khan* adjoining the palace. The inscription specifies the year AH 109 / AD 727 as the year the building was constructed and the Umayyad Caliph Hisham bin 'Abd al-Malik is named as its patron.","method_for_provenance":"The wall painting was produced *in situ* at Qasr al-Hayr al-Gharbi.","provenance":"Syrian Desert; 80 km southwest of Palmyra.","obtention":"This mural fragment was discovered during the 1936 French archaeological excavation of Qasr al-Hayr al-Gharbi, which was directed by the archaeologist Daniel Schlumberger. When the entrance façade of Qasr al-Hayr al-Gharbi was prepared for relocation at the National Museum of Damascus during the 1940s, this painting was selected from a large group of paintings and exhibited in the upper level of the relocated section of the palace.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausanne, 1962.  \nKohlmeyer, K. (ed), *Land des Baal,* Mainz, 1982, p.232, p.272.  \nSchlumberger, D., “Deux fresques Omeyyades”, *Syria*, XXV, 1946–8, pp.86–102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986, plate 37.","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Caliph Hisham bin Abd al-Malik","Daniel Schlumberger","desert palace","Fresco","Hijaz","painting","plaster","Qasr"],"materials":["plaster","using the fresco technique."]},"3a0eac5c-b039-57d4-9958-f23bbfce364b":{"name":"Fresco panel: ‘Group of Musicians’.","description":"Music making and dancing is a recurring theme in the frescoes at Qusayr ‘Amra. In the north-east spandrel of the central aisle, near the entrance to the audience hall, is a depiction of a female dancer and three musicians: a tambourine player, a flutist, and a third-badly damaged player, holding a cymbal. The flutist wears a tight-necked long garment with an all-over pattern of double circles, diamonds and florets. The garment is held at the waist by a girdle knotted at the side with two strands. The flutist holds the flute to his mouth with two hands.","short_description":"This fresco is located near the entrance to the audience hall at Qusayr ‘Amra; it depicts a female dancer and three musicians: a tambourine player, a flutist, and a player holding a cymbal. Music and dancing is a recurrent theme at Qusayr ‘Amra.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD second half of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr 'Amra and its frescoes date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sasanian emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"The panel is located near the entrance to the audience hall at Qusayr ‘Amra.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania,* Madrid, 1975, plates VI a-b.  \nFowden, G., *Qusayr ‘Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp.66-67.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Audience hall","Fresco","music"],"materials":["Fresco."]},"3c8378b6-b15a-5c21-874e-d7a334e3dab5":{"name":"Frescoed architectural fragment from a bathhouse.","description":"A frescoed architectural fragment that once formed part of a bathhouse, consisting of a niche with a pointed arch. The imagery within the niche portrays a figure, executed in black and red watercolours against a white background, executed in the fresco technique. The subject is a seated youth – who might have been a prince – and who holds a cup in his hand. He is wearing a loose robe-like garment, which is decorated with red vegetal motifs. His upper arms are encircled by two bands, and his head is covered by a pleated turban. A complete circular halo appears around the youth's head, perhaps to emphasise his status. He wears a scarf placed around his back, the two ends emerging from under his armpits and then left hanging down, suspended in mid-air. Two parts of the youth's hair can be seen beneath the turban, one in the front and the other at the back.  \nThe niche is framed by an arch composed of bead-like roundels. The fresco itself resembles paintings found in Samarra, Iraq in terms of both the figures; the shape of the heads and the circular halo, for instance, as well as in the repetitive decorative motifs; the frame in the form of an arch, for example. In addition the implementation of style is far from realistic, and leans more towards the decorative, with clear Persian influences. The Fatimid frescoes are not too different in form, style, or thematic content from depictions executed on metallic lustre ceramics, which were being produced in Egypt during this period. It is possible to study the pictorial representation on this architectural fragment by comparing it to similar Fatimid-period examples executed on various media: ceramics, some wooden pieces and on many textiles. Furthermore it is interesting to consider the role of painting itself as a distinctive decorative component of the applied arts during the Fatimid period.","short_description":"Baths were buildings of importance in the Islamic world due to their role in purification and hygiene. The walls of bathhouses were commonly decorated with frescoes, like the example we see here.","type":"Fresco, bathhouse","holder":"Museum of Islamic Art","dates":"Hegira 5th century / AD 11th century.","location":"Cairo","dimensions":"Height 24.5 cm, width 60 cm.","method_for_datation":"Painting on all the applied arts is a distinctive feature of the Fatimid period, it also makes comparison with other paintings of the period a useful means of dating an object.","method_for_provenance":"Fustat was narrowed-down as the place of production for this architectural fragment as the piece was discovered *in situ* in a Fatimid bathhouse.","provenance":"Fustat, Egypt.","obtention":"Archaeological excavations undertaken by the Centre of Arab Antiquities in 1932 revealed the presence of a Fatimid bathhouse in the region of Fustat. Some of its constituent parts, including this architectural fragment, were transferred and registered as acquisitions of the Museum of Islamic Art in Cairo in 1934.","bibliography":"Al-Pasha, H., *Al-Taswir al-Islami fi al-Usur al-Wusta \\[Islamic Painting During the Middle Ages\\]*, Cairo, 1959.  \n\\_\\_\\_\\_\\_\\_, **Trésors fatimides* du Caire*, exhibition catalogue, Paris, 1998.  \nGrübe, E., *Cobalt and Lustre: The First Centuries of Islamic Pottery,* London, 1994.  \nHassan, Z. M.,“Tuhaf Jadida min al-Khazaf al-Fatimi dhi al-Bareeq al-Ma'dani \\[New Pieces from Fatimid Metallic Lustre Ceramics\\]”, *Majalat Kuliyat al-Adab \\[of the Faculty of Arts\\],* December, 1951.  \nHassan, Zaki M., *Kunuz al-Fatimiyyin \\[Treasures of the Fatimids\\],* Beirut, 1981.  \nPhilon, H., *Early Islamic Ceramics: Ninth to Twelfth Centuries,* Athens, Vol. 1, London, 1980.","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["bathhouse","Figurative representation","Fresco","stucco"],"materials":["Fresco: stucco-painted with watercolour in red and black."]},"3ef00d87-7d99-5046-8489-348689e5698a":{"name":"Fresco panel: ‘Hunting Scene’.","description":"A hunting scene that occupies the entire upper register of the western wall in the audience hall of Qusayr ‘Amra. The scene depicts a group of onagers within a fenced enclosure; they are being driven towards a net where they will be trapped. Alongside the fence are a number of puppet-like figures holding torches, apparently to scare the animals into the trap.  \n  \nIn between the onagers (seemingly running at full speed) one can detect three men mounted on galloping horses; the horseman on the extreme left (south) side has just fallen off his horse. This scene, rendered with so much feeling for movement, savours strongly the hunting scenes in the mosaic pavements of Piazza Armerina in Sicily, and in Tunisia, for unlike Sassanid hunting scenes where the king appears as the central figure and the aim of the scene is to glorify the king and his prowess, the hunting scene at Qusayr ‘Amra depicts hunting as a pleasurable pastime and thus comes closer to the Mediterranean representation of hunting. What may well be a sequence to this scene is represented on the north wall of the eastern bay. The panel here depicts the trapped animals being speared and disembowelled by hunters, who are bare-footed and wear knee-length tunics with long, loose sleeves.","short_description":"This fresco is in the audience hall of Qusayr ‘Amra and depicts a group of onagers driven through a fenced enclosure towards a net. Rendered with a sense for movement, similar to Mediterranean scenes, it shows hunting as a pleasurable pastime.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr ‘Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sassanid emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"The panel is inside the audience hall at Qusayr ‘Amra.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania,* Madrid, 1975, p.61; plates XX–XXII, XXX–XXXI.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp.85–114.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Fresco","Hunting scene."],"materials":["Fresco."]},"4cd253cf-44cf-56c0-9d8c-9c6924980524":{"name":"Fresco panel: ‘The Family of Kings’.","description":"A fresco situated at the southern end of the audience hall on the lower register of the western wall at Qusayr 'Amra. Much discussed and extremely damaged, the fresco is known as 'The Family of Kings'.  \n  \nIn its original state, the fresco panel depicted six kings arranged in two rows: the most important rulers are in the front row, and the less important ones are at the back. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sassanid emperor; 'Negus', the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Fortunately parts of the scene including the Sassanid king and certain sections of the Byzantine emperor are still preserved. The fresco shows figures extending their hands as if paying homage. The figure to the left–south (the Byzantine emperor), whose head is destroyed, is dressed in an imperial robe decorated with an all-over pattern of small circles; the central figure (the Sassanid king) shows a beardless youth wearing a long robe (*chiton*) with a golden hem and a mantle (*chlamys*) fastened on his right shoulder by a *fibula*. The Sassanid king's crown is not typical and shows a stand topped by two superimposed knobs with a crescent.  \n  \nAs it has already been pointed out by Oleg Grabar (1954), the scene does not stress defeat in the usual Sassanid or Byzantine manner, and therefore might be interpreted as a harmonious representation of a 'Family of Kings'. This scene was also thought to supply the date of the building, since Roderick ruled for only one year before he was killed by the Umayyad armies in AH 92 / AD 711. It has been assumed that the Qusayr 'Amra complex was built by al-Walid I (r. AH 986–96 / AD 705–15). This date AH 92 / AD 711, however, provides a *terminus post quem* for the construction of the monument and it is more likely that it was built by Al-Walid's nephew and synonym, Al-Walid II, who is known to have lived in the Azraq area.","short_description":"This fresco panel is situated in the audience hall of Qusayr ‘Amra. Its original state depicted the six rulers of Byzantium, Persia, Abyssinia, Spain, China and the Turks, whose names were written in Arabic and Greek. Roderick of Spain ruled only in AH 92 / AD 711 providing a terminus post quem for construction.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD second half of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr ‘Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being this fresco panel depicting six rulers; 'The Family of Kings'. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"The fresco panel is located in the audience hall at Qusayr ‘Amra, Jordan.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania,* Madrid, 1975, plates XXII a-b.  \nCreswell, K. A. C., *A short Account of Early Muslim Architecture*, Revised by J. W. Allen, Cairo, 1989, pp.112–13, plate 69.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp.197–226.  \nGrabar, 0, 'The Painting of the Six Kings at Qusayr Amra', *Ars Orientalis*, 1, 1954, pp.185–7.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Fresco","Roderick."],"materials":["Fresco."]},"56acaf8e-1d2d-5882-9b67-7d024e5744ff":{"name":"Fresco panel: ‘Dancers’.","description":"A fresco in one of the compartments of the apodyterium (vestiary) at Qusayr ‘Amra. The apodyterium is covered by a tunnel-vault, which is divided into diamond-shaped compartments by frescoed leafy bands, containing an agglomeration of isolated pastoral scenes. One compartment depicts a female dancer dancing to the accompaniment of a flutist. She wears a long undergarment indicated by a band of dark red colour. The whirling folds at the bottom of her skirt suggest motion which is accentuated by the raised left arm and the tilt of her head.  \n  \nOn the intrados of the western arch in the audience hall, near its southern curve, is another dancing woman. She is naked except for a loin cloth, and wears wristlets, armlets, and a bracelet. The figure, although voluptuous, shows vivid movement, achieved through the active twist of the body, the counter-poised position of the arms, and the forward-thrust of the right leg, all of which acts to accentuate the sense of motion. Her vigorous movement is reminiscent of one of the dancing bacchante from the 'Bacchic Procession' now at Madaba Archaeological Museum.","short_description":"One fresco is in a compartment of the apodyterium (vestiary) at Qusayr ‘Amra and depicts a female dancer and a flutist; on the intrados of an arch in the audience hall is another dancing woman. Both show movement reminiscent of images of dancing bacchantes.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr ‘Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sasanian emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"One of the fresco panels is in the apodyterium, and the other is in the audience hall at Qusayr ‘Amra.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania,* Madrid, 1975, platesXLII b-c.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp.67–8.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Apodyterium","dance","Fresco"],"materials":["Fresco."]},"5dcd5e36-d273-5b03-a8de-93f266c0b45c":{"name":"Floor painting.","description":"Islamic art began as a continuation of elements from previous periods that were common and well-known in the area. This panel offers a clear example of the influence of Roman myths. It was painted using the *secco* technique, where the paint is applied only after the plaster is dried and then the plaster is remoistened with a bit of water. This panel covered the floor of the reception hall in the west wing of the Qasr al-Hayr al-Gharbi, which is located in the Syrian Desert between Damascus and Palmyra.  \nThe panel is rectangular with a vine-scroll border and allegorical figures. A female portrait within a circular frame dominates the composition. She faces the viewer in a frontal position. Her face is welcoming and in her hands she offers a cloth filled with colourful fruits. She wears a necklace around her neck beneath which a snake coils. Archaeologists consider the woman in this painting to be Gaea, the mother-goddess of Roman mythology who emerges bountifully out of the Earth. The circle surrounding her is defined by two white lines filled-in in red and accentuated by smaller white circles, each containing a bouquet of flowers.  \nThe upper part of the painting shows two “marine centaurs” that are half man and half beast. They are surrounded by foliage and both grasp a spear in their left hand and reach out with their right. In the lower part of the painting there is a group of animals, including two cranes, two foxes, and a dog.  \nThis floor painting belonged in the reception hall, and in the upper section of it there are traces of the round column that stood on top of it.","short_description":"This fresco painting comes from the Umayyad palace Qasr al-Hayr al-Gharbi in the deserts of Syria. It displays an image from classical Roman mythology, the earth goddess, Gaea, signifying bounty and fruitfulness. It also indicates artistic and cultural continuity from Late Antiquity to early Islam.","type":"Floor, plaster","holder":"National Museum of Damascus","initial_owner":"Caliph Hisham bin 'Abd al-Malik (r. AH 105–25 / AD 724–43).","dates":"Hegira 109 / AD 727.","location":"Damascus","dimensions":"Length 5.21 m, width 4.43 m.","method_for_datation":"The floor, along with the rest of the palace complex, was dated according to the inscription on the door lintel of the *khan* adjoining the palace. The lintel carries the date AH 109 (AD 727) and indicates that the complex was built by Caliph Hisham bin Abd al-Malik.","method_for_provenance":"The floor painting was produced *in situ* at Qasr al-Hayr al-Gharbi.","provenance":"Syrian Desert, 80 km southwest of Palmyra.","obtention":"The floor painting was discovered during the 1936 French excavation of Qasr al-Hayr al-Gharbi, which was led by archaeologist Daniel Schlumberger. It was the discovery of this site that led to the development of the Islamic Arts section in the Damascus National Museum. This floor painting, along with the palace's plaster façade which now adorns the museum's entry, were prepared for relocation at the National Museum during the 1940s. The Umayyad wing was formally inaugurated in 1950.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausanne, 1962, p.35.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987, fig. 88.  \nFowden, G., *Qusayr 'Amra: Art and the Umayyad Elite in Late Antique Syria,* California, 2004, p.71; fig. 22.  \nSchlumberger, D., “Deux fresques Omeyyades”, *Syria*, XXV, 1946–8, pp.86–102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986, XIV, plate 35.","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Caliph Hisham bin Abd al-Malik","Daniel Schlumberger","desert palace","floor painting","Gaea","plaster","Qasr"],"materials":["painted using the secco technique.","plaster"]},"703bcca9-4c28-508b-8d25-b6f6138c138c":{"name":"Fresco on the Cupola.","description":"The caldarium or hot room in the *hammam* (bath) at Qusayr ‘Amra has a fresco of the constellations on the cupola; the earliest surviving representation of the stars on a spherical surface. The painting was apparently copied from a manuscript and transferred to the cupola. A number of errors in the placement of the constellations indicate the painting was executed by someone who was not familiar with Astrology.","short_description":"The fresco of the constellations on the cupola of the caldarium at Qusayr ‘Amra is the earliest surviving representation of the stars on a spherical surface. A number of errors in the placements indicate that the painter was not familiar with astrology.","type":"Cupola, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr ‘Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sasanian emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"The fresco decorates the cupola in the caldarium of the hammam at Qusayr ‘Amra.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Beer, A., 'The Astronomical Significance of the Zodiac of Qusayr Amra', in K. A. C. Creswell, *Early Muslim Architecture*, Vol. 1, Oxford, 1932, pp.296–303.  \nBrunet, J.-P., 'The Fresco of the Cupola of Qusayr Amra', *Centaurus*, Vol. 40, 1998, pp.97–123.  \nSaxl, F., 'The Zodiac of Qusayr Amra', in K. A. C. Creswell, *Early Muslim Architecture*, Vol. 1, Oxford, 1932, pp.289–94.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["astrology","caldarium","constellations","Cupola","Fresco"],"materials":["Fresco."]},"739d0ddb-7438-5fa6-b2ce-791163929d75":{"name":"Scene showing a squadron of Hussars","description":"At the time of Count Kazimir Drašković (1716–1765) part of his *banderium* was barracked in Trakošćan. His military biography during the reign of Empress Maria Theresia still decorates the rooms and inventory of Trakošćan Castle. He began his service in the Austrian army in 1734, and fought on the battlefields of Europe. His courage was notable on both the Italian and German battlefields in the war of the Austrian Succession (1740–1748) and in the Seven Years' War (1756–1763). In 1763, promoted to artillery general, he then became a commanding general in Transylvania. He was decorated with the highest military order of the Austrian Empire – the Commander Cross of Maria Theresia. There are many items from his time in Trakošćan Castle: portraits of army officers, family members, flags and other material, and particularly wall paintings in the military cabinet on the second floor. The room has canvas wall coverings that give a complete picture of Count Drašković’s military units in the mid-18th century. The large painting consists of 11 parts; the eight larger ones show the *banderium* on parade, composed of 821 people; and the three smaller ones show military symbols, cannon, lances, drums and flags. The paintings are realistic and show in detail the soldiers' uniforms, weapons and the distribution of the units and their parts. A schematic presentation, the soldiers have no personal characteristics, but are portrayed according to type with dark moustaches and red cheeks while the infantry units are faithfully rendered; the soldiers distributed in two companies of fusiliers and one of grenadiers. The staff includes hunters, musicians, guards and a canteen, a surgeon and NCOs. Especially interesting is the small band: the first painting of a military band in Croatia. This was the count's own professional band, which played at his castle during peacetime. It consisted of eight wind instrumentalists: four oboists, two fagottists and two horn players. It also had a tambour major. The cavalry has two squadrons of Dragons and three squadrons of Hussars. The scene shown here is the light cavalry of the Hussars, three troops placed one behind the other in two rows each. They are dressed in blue dolmans, red trousers, brown cloaks and light-brown boots. On their heads, they have busbies.","short_description":"In a landscape are three double rows of cavalry in blue uniforms led by officers mounted on white horses. There are several houses above the units. This scene, painted on canvas wall hangings, is part of a series depicting military units, which covered one of the rooms of Trakošćan Castle. Croatia's most important aristocratic family, the Counts Drašković, owned the castle. General Count Kazimir Drašković, from whose time these hangings date, had a distinguished military career and was decorated with the highest military order of the Austrian Empire – the Commander Cross of Maria Theresia.","type":"Canvas wall covering; part of a wall painting","holder":"Trakošćan Castle","initial_owner":"Count Drašković","dates":"Mid-18th century","location":"Trakošćan, North-West Croatia","dimensions":"H: 277 cm; w: 163 cm","place_of_production":"Northern Croatia","method_for_datation":"Analysis of style and comparison with the Small Genealogy of the Drašković family.","provenance":"Found in Trakošćan Castle when it became a museum in 1953","obtention":"The wall painting was made either to fit the wall of another room in Trakošćan Castle or some other building that belonged to the Counts Drašković, and was later adapted to fit the cabinet, probably when Trakošćan Castle was renovated in the second half of the 19th century.","bibliography":"Krznar, S., Mravlinčić, I., *Trakošćan – burg-muzej* (Trakošćan – a Museum Castle), Trakošćan, 2007.  \n*Barok u Hrvatskoj* (Baroque in Croatia), exhibition catalogue, Zagreb, 1993.","author":"Ivan Mravlinčić","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Austrian army","Drašković family","soldier","Wall painting","warfare"],"materials":["Tempera on canvas with a frame of coloured wood"]},"8985fc96-8186-5025-a7f2-72ef2dcdcfcb":{"name":"Decoration of the Egyptian collection of Kunsthistorisches Museum in Vienna","description":"Copy of paintings from the tomb of Chnum-hotep II in Beni Hassan from the Egyptian pavilion of the 1873 World's Fair in Vienna.","type":"Photograph","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"1873","location":"Vienna","copy_editor":"Daniel de la Vega"},"8c849c6a-3e58-57d8-b731-007ad15dcd18":{"name":"Decoration of the Egyptian collection of Kunsthistorisches Museum in Vienna","description":"Copy of paintings from the tomb of Chnum-hotep II in Beni Hassan from the Egyptian pavilion of the 1873 World's Fair in Vienna.","type":"Photograph","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"1873","location":"Vienna","copy_editor":"Daniel de la Vega"},"952ab9d3-ae66-55d8-89bd-8e1f14d55203":{"name":"Fresco panel: ‘Tall Standing Woman at the Edge of a Pool’.","description":"A fresco on the central section of the lower register in the audience hall at Qusayr ‘Amra that depicts a remarkably tall woman standing at the edge of a pool. She is naked except for a loin cloth and is decked with wristlets, armlets, and a necklace with pendants around her neck; another, longer necklace with three pear-shaped pendants hangs between her rounded breasts. Her right arm is lowered, slightly bent towards her right thigh, while the index and little finger of her right hand are extended; the left arm is raised and bent towards her shoulder as if pulling back a curtain behind her. A turban covers her hair with a circular pin at the front.  \n  \nThis female bather puts on a really bold display, evidently much admired by the crowd of figures watching from behind a balustrade in the left arcade. Behind her to the right is a gesturing attendant. In the background is an impressive architectural vista: a two-storey arcade with a curtain and balustrades, which may well represent pool architecture similar to that of the palace forecourt at Khirbet al-Mafjar in Jericho. The central position of the tall, semi-naked woman, her size and her attitude all indicate that she must have been an important personage, perhaps the favourite concubine of the patron of Qusayr ‘Amra.  \n  \nThis bathing beauty brings to mind images of the Goddess of love, Aphrodite, whose image may have served as a source of inscription for this panel.","short_description":"This fresco is in the audience hall at Qusayr ‘Amra and is inspired by images of Aphrodite. Her central position, size and attitude indicate that she was an important personage, perhaps a favourite concubine of the patron.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly al-Walid II (AH 125–6 / AD 743–4).","dates":"Hegira first third of the 2nd century / AD second third of the 8th century.","location":"Amman","dimensions":"n/a","method_for_datation":"Qusayr 'Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sasanian emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of china and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a *terminus post quem* for construction of the monument.","method_for_provenance":"The panel is located on the western wall of the audience hall at Qusayr ‘Amra.","provenance":"Qusayr ‘Amra, Jordan.","obtention":"The fresco is *in situ* at Qusayr ‘Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania,* Madrid, 1975, p.56; p.102; plates XVIa, XIX a-b; XXa-b.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp.227–47.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Audience hall","bath","fresco."],"materials":["Fresco."]},"97d73f3c-2c54-52b7-ad17-cfda861be46b":{"name":"Detail from wall panel in Qusayr 'Amra","holder":"Jordan Archaeological Museum","dates":"Hegira, after 92 / AD 710","location":"Amman"},"a821e620-0be1-566e-9efd-535d3a1c2fcd":{"name":"Fragment of a fresco panel.","description":"The Ayyubid period was known for the architectural and artistic revival in the Bilad Al-Sham, not only in the Islamic cities but for the Christians in the region as well. This object is a section from a panel that once decorated the apse of the altar of the Church of the Monastery of Mar Yakub (St Jacob), which lies close to the village of Qara, located near the village of Salihiyya to the north of Damascus. The panel portrays a winged angel whose head is surrounded by a halo of light. His hair is long and his head is tied with a fillet. He wears white clothing and lifts his right hand in benediction, while holding a rope in his left hand. His gaze reflects piety and faith. The panel was executed in varying shades of brown and grey in addition to red, blue and green.  \nArt historians note that the iconographic facial features are those of the Archangel Michael, one of the highest and most important of the angels. Indeed, the folds of the garments, the features of the face and the style of shading conform very closely to depictions on the third-layer paintings of the Monastery of Mar Musa al-Habashi (St Moses, the Ethiopian) which lies nearby and flourished contemporaneously. It is as if this region had its own distinctive artistic school. This panel, as well as the remaining ones in the Monastery of Mar Yakub, have great importance in the history of local Christian art which goes back to the Middle Ages, especially as so few artefacts or monuments from this period in Christian history remain. They reflect the artistic traditions of the local Christian community as well as the existence of Byzantine influences. They also provide visual evidence that Christians continued to practice their beliefs and express their faith under the Islamic state.","short_description":"Wall painting in local Christian monasteries underwent an artistic renaissance during the Ayyubid period. This fragment of a fresco, possibly depicting the Archangel Michael, comes from the Deir Mar Ya'qub monastery in the village of Qara located some 100 km north of Damascus.","type":"Panel, fresco","holder":"National Museum of Damascus","dates":"Hegira 6th–7th century / AD 12th–13th century.","location":"Damascus","dimensions":"Height 62 cm, width 93 cm.","method_for_datation":"The fresco was dated by comparison of both the techniques used – materials, colours, method – as well as the stylistic elements present on the panel, which reveal strong parallels with other depictions present in the region, extending from the north to the south of Syria, including Lebanon. It may be noted that this piece dates to the Ayyubid period (6th / 12th century) a period of innovative artistic works in churches and monasteries.","method_for_provenance":"The fresco was taken from the church apse in the Monastery of Deir Mar Yakub. The monastery is located in the village of Qara, in the Qalmun Mountains in the outskirts of Damascus, which indicates the general source. The National Museum in Damascus has recorded this operation.","provenance":"The Church of the Monastery of St Jacob (Deir Mar Yakub) in Qara, located 97 km north of Damascus and 15 km east of the Nebek.","obtention":"Notice was given by the Directorate General of Antiquities and Museums that the fresco panels in the Church of Deir Mar Yakub were in need of restoration. Two sections of the panels were disintegrating and were brought to the National Museum to be restored. At the time, the Directorate decided it would be best to keep them conserved in the Museum. They were thus registered in 1993.","bibliography":"'Afif, B., “Antiquities of Syria”, *National Mail for Journalism and Publication,* Austria, 1985, p.2041.  \nHabib, Z., *Al-Dayarat al-Nasraniya fi al-Islam \\[Christian Monasteries in Islam\\],* Beirut, 1999, p.3.","author":"Dina Bakkour","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Christian art","Fresco","monastery","panel","stucco"],"materials":["over a layer of thick clay.","Plaster and coloured mineral and metallic pieces applied using the fresco technique upon a coating of stucco"]},"ab5f529a-54db-5914-b779-6e088fe95b11":{"name":"Fresco panel: ‘Seated Bear Playing a Musical Instrument’.","description":"A fresco in one of the diamond-shaped sections in the apodyterium or dressing room belonging to the bath complex (hammam) at Qusayr ‘Amra. It depicts a bear playing a musical instrument; seated on a stool, the bear's left leg is dangling, while the right one is bent and rests on the stool, touching the left thigh. He plays a long-handled, stringed musical instrument which looks like an *\\`ud*. Next to the bear is a standing monkey clapping his front paws. It is likely that this scene depicts two people masquerading as a monkey and a bear.","short_description":"Fresco from the baths complex at Qusayr ‘Amra, of a bear playing a musical instrument. Next to the bear is a standing monkey clapping its front paws. It is likely that this scene depicts two people masquerading as animals.","type":"Panel, fresco","holder":"*In situ* at Qusayr ‘Amra.","initial_owner":"Possibly Al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Hegira, first third of the 2nd century / AD first half of the 8th century.","dimensions":"n/a","method_for_datation":"Qusayr 'Amra and its frescos date to the Umayyad period, an accurate dating achieved primarily through analysis of some of the paintings *in situ*, the most important being the fresco panel depicting six rulers; 'The Family of Kings'. Their names, written above their heads in Arabic and Greek, identify them as: 'Caesar', the Byzantine emperor; 'Kisra', the Sasanian emperor; the king of Abbyssinia (Ethiopia); and 'Roderick', the Visigothic king of Spain. Historical inference has established the identities of the other two as the emperor of China and the ruling prince 'khaqan' of the Turks. Since Roderick ruled for only one year before he was killed in AH 92 / AD 711, this date provides a terminus post quem for construction of the palace.","method_for_provenance":"The fresco is located in the apodyterium (vestry) of the bath complex (hammam) at Qusayr ‘Amra.","provenance":"Qusayr Amra, Jordan.","obtention":"*In situ* at Qusayr Amra.","bibliography":"Almagro, M., *Qusayr ‘Amra*, Madrid, 1975, Lamina XLII  \nEttinghausen, R., \"The Dance with Zoomorphic Masks and other Forms of Entertainment seen in Islamic Art\" In *Arabic and Islamic Studies in Honour of H. A. R. Gibb*, Cambridge, Mass., 1965, p.219.  \nFowden, G., *Qusayr ‘Amra: Art and the Umayyad Elite in Late Antique Syria*, L.A., 2004, p.68; fig. 19.","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Apodyterium","Fresco","musical instruments"],"materials":["Fresco."]},"d861eea4-5eaf-5a74-81c8-1ecb64d9a358":{"name":"Floor painting.","description":"The Umayyad desert palaces show clearly the influence of earlier artistic traditions – both from the Byzantine Empire in the West, and the Sassanid Empire in the East, what is now modern Iran. This painting shows the influence of the art and mythology of the Sassanids. It covered the floor of the reception room in the east wing of Qasr al-Hayr al-Gharbi.  \nThe upper section shows two court minstrels playing musical instruments, a *nai* (a woodwind instrument) and an *oud* (a string instrument), beneath a pair of ornamented arches. The lower section portrays a clean-shaven hunter galloping on horseback. The hunter is dressed in Sassanid-style fashion; his head-scarf flying behind him, his bow and arrow are drawn tight for the catch. On the lower right-hand corner is a gazelle, running away while looking back. It is possible that this scene is based on a famous Persian epic, possibly Bahram Gur's *Hunting Feats*.  \nSome scholars have deduced that this fresco reflects a choice by the Caliph to re-orient his empire to look East instead of West especially after Muslim attempts to conquer Constantinople failed. Thus the Caliph chose to adopt the Sassanid imperial heritage as a model for the language of power.  \nThis painting lay on the floor of the reception hall, and one can notice in its upper section traces of a round column that stood on top of it.","short_description":"The iconographic traditions of courtly activity, such as the image of a prince galloping on horseback flaunting his hunting expertise, is derived from the pre-Islamic Sassanid Empire of Persia. It is here depicted on an Umayyad painting from the Syrian palace of Qasr al-Hayr al-Gharbi.","type":"Floor, plaster","holder":"National Museum of Damascus","initial_owner":"Caliph Hisham bin 'Abd al-Malik (r. AH 105–25 / AD 724–43).","dates":"Hegira 109 / AD 727.","location":"Damascus","dimensions":"Length 5 m, width 4.85 m.","method_for_datation":"The floor, along with the rest of the palace complex, was dated according to the inscribed door lintel of the *khan* adjoining the palace complex. The lintel carries the date 109 / 727, and indicates that the complex was built by Caliph Hisham bin 'Abd al-Malik.","method_for_provenance":"This floor painting was produced on *in situ* at Qasr al-Hayr al-Gharbi.","provenance":"Syrian Desert; 80 km southwest of Palmyra.","obtention":"The floor painting was discovered during the 1936 French excavation of Qasr al-Hayr al-Gharbi, which was led by archaeologist Daniel Schlumberger. When the plaster façade from the front of Qasr al-Hayr al-Gharbi was prepared for relocation at the National Museum during the 1940s this floor painting was stabilised on the wall of the main room of the new Qasr al-Hayr al-Gharbi wing, formally inaugurated by the Museum in 1950.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969, pp.151–2.  \nEttinghausen, R., *Arab Painting*, Lausanne, 1962, p.37.  \nPapadopoulo, A., *Islam and Muslim Art, New York, 1979, p.387, fig. 179.*  \nSchlumberger, D., “Deux fresques Omeyyades”, *Syria*, XXV, 1946–8, pp.86–102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986, XIX, plate 34.","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Caliph Hisham bin Abd al-Malik","Daniel Schlumberger","desert palace","figurative painting","hunters","musical instruments","musician","plaster","Qasr"],"materials":["painted using the secco technique.","plaster"]},"ea3a91f8-4029-5f91-8e55-44b4089bf748":{"name":"*Bayt al-Barudi steamship murals, Damascus*","alternate_name":"Mural in the main reception hall of the Barudi House at the quarter of Qanawat","description":"The steamships are of one of the most important technical innovations in the nineteenth-century, because they introduced new modern possibilities of transport and trade and hence contributed to the economic transformation of the Ottoman Empire. Because of this new transportation, cities on the Euphrates or Tigris experienced drastic changes and flourished even more. This impact lead to numerous depictions of steamships in artwork, such as this mural from Bayt al-Qabbani (Damascus, built at the turn of the 19th/20th century) shows. As symbols of the new time they represent global exchange of goods, ideas and people.","type":"Photograph","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1880-1925","location":"Berlin","author":"Stefan Weber"},"ff2ee02d-c01b-55f1-8514-320080faaf5a":{"name":"Nebamun tomb paintings","description":"Salt’s excavator, Yanni d’Athanasi, discovered and removed the exquisite wall paintings from the 18th Dynasty tomb of Nebamun. Here Nebamun counts the flocks of geese being brought before him.","type":"Wall painting","holder":"The British Museum","dates":"C14th BC; acquisition date: 1821","location":"London","provenance":"Egypt"}}

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+{"0c3648d9-9762-55ae-85a2-34844ebd664f":{"name":"Fresco de Qusayr Amra.","description":"Fresco de una mujer con vestiduras ligeras y muy enjoyada, representada delante de un nicho. Lleva brazaletes en los brazos y un collar con un colgante circular alrededor del cuello. Su cabello, de color oscuro y que le cae sobre los hombros, está adornado con hilos de perlas blancas. Detrás de la figura femenina se distingue un nicho flanqueado por dos pilares sobre pedestales y del que cuelga una tela azul, aunque resulta difícil apreciar los detalles, sobre todo en la parte inferior, tapada por grafitos.  \nEsta pintura procede de la habitación principal del palacio de Qusayr Amra, y es uno de los varios frescos con representaciones femeninas. Se trata de un tema frecuente en los frescos omeyas y formaba parte del repertorio figurativo que retrataba la vida en la corte, de gran dispendio y libertad en este periodo. Las mujeres se representaban desnudas o con largos vestidos, pero siempre llevaban ricas joyas. Las celebraciones cortesanas incluían banquetes en los que se bebía vino, conciertos y actuaciones de acróbatas y cantantes. Las fuentes contemporáneas a la construcción de este palacio mencionan estas fiestas.","short_description":"Fragmento de pintura mural procedente del palacio omeya de Qusayr Amra (Jordania). Representa una figura femenina vestida ligeramente y adornada con ricas joyas, dentro de un nicho. Es uno de los varios frescos con figuras femeninas de la sala del trono o los baños de palacio y representa el gusto y la vida de la corte en la época.","holder":"Museo de Arte Islámico del Museo Pergamon","dates":"Califato de al-Walid I, entre los años 86 y 96 de la Hégira / 705–715 d. C.; probablemente después del año 92 / 711.","location":"Berlín","dimensions":"Alto 205 cm, ancho 102 cm.","method_for_datation":"Como el resto de las pinturas de Qusayr Amra, ha sido datada gracias al fresco de  los seis reyes después del año 92/ 711, durante el califato de al-Walid I.","method_for_provenance":"El pintor A. L. Mielich la obtuvo poco después del descubrimiento de las pinturas de Qusayr Amra, lo que garantiza su procedencia. Se ha presentado como obra aislada después de su traslado.","provenance":"Palacio de Qusayr Amra (Jordania).","obtention":"Adquirido a A. L. Mielich en Viena en 1908.","bibliography":"Almagro, M. et al., *Qusayr Amra: residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975.  \nBaer, E., “Female Images in Early Islam”, *Damaszener Mitteilungen*, 11, 1999, pp. 13–24, lám. 3.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Berkeley, 2004.  \nGrabar, O. “Umayyad Palaces Reconsidered”, *Ars Orientalis*, 23, 1993, p. 105, ilustr. 9.  \nHillenbrand, R. “La Dolce Vita in Early Islamic Syria: The Evidence of Later Umayyad Palaces”, *Art History*, 5 (1), 1982, pp. 1–35.  \nKaiserliche Akademie der Wissenschaften (ed.), *Kuseijr Amra*, Viena, 1907, Vol. 1 (texto), p. 210, Vol. 2 (láminas), lám. 23.","author":"Annette Hagedorn","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["fresco","omeya","palacio y baños","pintura"],"materials":["muy deteriorada y desprendida.","Pintura mural al fresco sobre yeso"]},"1db2b71c-1b13-500e-b0ba-c510c7396de5":{"name":"Fragmento de pintura mural.","description":"Este fragmento pertenece al grupo de pinturas al fresco que adornaban las paredes de la segunda planta de Qasr al-Hayr al-Garbi. Representa el rostro de una mujer en tres cuartos, con un elegante y delicado chal que le cubre la cabeza y cae sobre sus hombros. La frente y las mejillas quedan enmarcados por sus rizos negros. En el fondo se aprecian motivos geométricos y estilizados motivos vegetales.  \nTiene los rasgos propios de una mujer árabe. Los arqueólogos creen que es una cantante de palacio. Fuentes históricas relatan que se traían mujeres rapsodas de la región del Hiyaz, en el oeste del desierto de Arabia, para cantar en los palacios omeyas del desierto sirio.","short_description":"Esta pintura omeya presenta rasgos de belleza femenina típicamente árabes: grandes ojos almendrados delineados con kohl, gran contraste entre el blanco del ojo y la oscura pupila, pendientes de estilo beduino y un pañuelo sobre la cabeza colocado de una manera característica.","holder":"Museo Nacional de Damasco","initial_owner":"Califa Hisham ibn Abd al-Malik (r. 105-125 / 724-743).","dates":"109 de la Hégira / 727 d. C.","dimensions":"Alto 41 cm; ancho 39 cm.","method_for_datation":"Este objeto, así como el resto del complejo palaciego, se dató gracias a la inscripción del dintel de la puerta del *jan* adyacente al palacio. En la inscripción se menciona el 109 de la Hégira (727 d. C.) como año de construcción y se indica que el patrocinador fue el califa omeya Hisham bin Abd al-Malik.","method_for_provenance":"La pintura mural se realizó en el propio Qasr al-Hayr al-Garbi.","provenance":"Desierto sirio, 80 km al suroeste de Palmira.","obtention":"Esta pintura se descubrió durante la excavación realizado por los franceses en Qasr al-Hayr al-Garbi en 1936, dirigida por el arqueólogo Daniel Schlumberger. Cuando la fachada de la entrada de Qasr al-Hayr al-Garbi se preparó para trasladarla al Museo Nacional en la década de 1940, esta pintura se seleccionó entre un gran conjunto de pinturas para exhibirse en la planta superior de la parte reubicada del palacio.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausana, 1962.  \nKohlmeyer, K. (ed.), *Land des Baal*, Mainz, 1982, pp. 232 y 272.  \nSchlumberger, D., “Deux fresques Omeyyades”, *Syria*, XXV, 1946-48, pp. 86-102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, París, 1986, placa 37.","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["califa Hisham bin Abd al-Malik","Daniel Schlumberger","escayola","fresco","Hiyaz.","palacio del desierto","Pintura mural","Qasr","rapsoda"]},"3a0eac5c-b039-57d4-9958-f23bbfce364b":{"name":"Fresco de grupo de músicos.","description":"Los músicos y bailarines son un tema recurrente de los frescos de Qusayr Amra. En el tímpano noreste de la nave central, cerca de la entrada del salón de audiencias, hay una representación de una bailarina y tres músicos: uno de ellos toca el pandero, otro la flauta y el tercero, cuya imagen está muy deteriorada, tiene un címbalo en la mano. El flautista lleva una larga túnica ajustada al cuello y adornada con círculos dobles, diamantes y florecillas; va ceñida a la cintura con un cinturón anudado a un lado con dos cintas. Se lleva la flauta a la boca con ambas manos.","short_description":"Fresco situado cerca de la entrada del salón de audiencias de Qusayr Amra. Representa a una bailarina y tres músicos: uno toca el pandero, otro la flauta y el tercero sujeta un címbalo. La música y la danza son temas recurrentes en Qusayr Amra.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-126 / 743-744)","dates":"Primer tercio del siglo II de la Hégira / primera mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar, sobre todo el fresco que representa a la “familia de reyes”, donde aparece Roderico (Rodrigo), rey visigodo de Hispania, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"El fresco se encuentra cerca de la entrada del salón de audiencias de Qusayr Amra.","provenance":"Qusayr Amra (Jordania).","obtention":"El fresco se halla en su ubicación original, Qusayr Amra.","bibliography":"Almagro, M., et al., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, láminas VI a-b.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Ángeles, 2004, pp. 66–67.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["fresco","música.","Salón de audiencias"],"materials":["Fresco."]},"3c8378b6-b15a-5c21-874e-d7a334e3dab5":{"name":"Fragmento de fresco de unos baños.","description":"Fragmento de fresco procedente de unos baños realizado en un nicho de arco apuntado. En él, con la técnica del fresco, se ha pintado una figura con acuarelas negra y roja sobre fondo blanco. Se trata de un joven sentado, que podría ser un príncipe, con una copa en la mano. Se cubre con un turbante y va vestido con una prenda amplia parecida a una túnica y ornada con motivos vegetales en color rojo; en la parte superior de los brazos se ven unas bandas. Alrededor de la cabeza aparece también una aureola circular, tal vez para destacar su estatus. Lleva un largo pañuelo que le rodea la espalda y cuyos extremos sobresalen de las axilas y quedan suspendidos en el aire. El turbante deja asomar el cabello del joven sobre la frente y en la nuca.  \nEl nicho se ha delineado con un arco decorado con círculos como cuentas de collar. El fresco recuerda a las pinturas encontradas en Samarra (Irak), tanto por la figura, la forma de la cabeza y la aureola como por los motivos decorativos repetidos y el arco que sirve de marco. Además, el estilo no es en absoluto realista, sigue ciertas convenciones y denota claras influencias persas.  \nLos frescos fatimíes no se diferencian mucho en forma, estilo o temas de las representaciones que aparecen en las cerámicas de reflejo metálico que se fabricaron en Egipto durante este periodo. Para estudiar la representación pictórica de este fragmento, puede compararse con ejemplos similares del periodo fatimí efectuados sobre otros materiales, como cerámica, madera y telas. Además, es importante destacar el papel de la pintura como un elemento característico de las artes decorativas durante el periodo fatimí.","short_description":"Los baños públicos tenían una gran importancia en el mundo islámico por las exigencias de purificación e higiene. Las paredes de los baños solían decorarse con pinturas al fresco como la de este fragmento arquitectónico.","holder":"Museo de Arte Islámico","dates":"Siglo V de la Hégira / XI d. C.","location":"El Cairo","dimensions":"Alto 24,5 cm; diámetro 60 cm.","method_for_datation":"El uso de la pintura en las artes decorativas es una característica distintiva del periodo fatimí. La comparación con otras pinturas del mismo periodo constituye un método muy útil de datación.","method_for_provenance":"El fragmento se halló *in situ* en unos baños de Fustat.","provenance":"Fustat (Egipto).","obtention":"Las excavaciones arqueológicas realizadas por el Centro de Antigüedades Árabes en 1932 revelaron la presencia de unos baños de época fatimí en la zona de Fustat. Algunas partes de los baños, entre las que se encuentra este fragmento, se trasladaron y registraron como adquisiciones del Museo de Arte Islámico de El Cairo en 1934.","bibliography":"Al-Pasha, H., *Al-Taswir al-Islami fi al-Usur al-Wusta \\[La pintura islámica en la Edad Media\\]*, El Cairo, 1959.  \nGrübe, E., *Cobalt and Lustre: The First Centuries of Islamic Pottery*, Londres, 1994.  \nHassan, Z. M., “Tuhaf Yadida min al-Jazaf al-Fatimi di al-Bariq al-Maadani \\[Nuevas piezas fatimíes de cerámica de reflejo metálico\\]”, *Majalat Kuliyat al-Adab*, diciembre, 1951.  \nHassan, Z. M., *Kunuz al-Fatimiyyin \\[Tesoros de los fatimíes\\]*, Beirut, 1981.  \nPhilon, H., *Early Islamic Ceramics: Ninth to Twelfth Centuries*, vol. 1, Londres, 1980.  \n*Trèsors Fatimides du Caire*, catálogo de exposición, París, 1998.","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["baños públicos","elemento arquitectónico","estuco","fresco.","representación figurativa"],"materials":["Acuarelas roja y negra sobre estuco."]},"3ef00d87-7d99-5046-8489-348689e5698a":{"name":"Fresco de escena de caza","description":"Escena de caza que ocupa todo el registro superior de la pared occidental del salón de audiencias de Qusayr Amra. La escena representa un grupo de onagros dentro de un cercado que están siendo dirigidos hacia una red donde quedarán atrapados. Al lado del cercado aparecen varias figuras que parecen marionetas y que portan antorchas, aparentemente para asustar a los animales y llevarlos hacia la trampa.  \nEn medio de los onagros (que parecen correr a gran velocidad) se distingue a tres hombres montados a lomos de caballos al galope. El jinete del extremo izquierdo (sur) se acaba de caer de la montura. Esta escena, que transmite una gran sensación de movimiento, recuerda en gran medida a las escenas de caza de Túnez o de los suelos de mosaico de Piazza Armerina (Sicilia). Es distinta a las escenas sasánidas de caza que ensalzaban al rey –que aparecía como protagonista– y sus hazañas, ya que aquí se muestra la caza como pasatiempo placentero, más al estilo mediterráneo. En el muro norte de la crujía oriental hay una escena que bien podría ser la continuación de esta; se trata de un panel que representa a los animales atrapados, ahora atravesados con lanzas y destripados por los cazadores, que están descalzos y visten túnicas hasta las rodillas, de largas y holgadas mangas.","short_description":"Fresco del salón de audiencias de Qusayr Amra que representa a un grupo de onagros conducidos hacia una trampa a través de un cercado. Transmite sensación de movimiento; al igual que las escenas mediterráneas, representa la caza como un pasatiempo placentero.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-126 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / primera mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar, sobre todo el fresco que representa a la “familia de reyes”, donde aparece Roderico (Rodrigo), rey visigodo de Hispania, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"Este fresco se encuentra dentro del salón de audiencias de Qusayr Amra.","provenance":"Qusayr Amra (Jordania).","obtention":"El fresco se halla en su ubicación original, Qusayr Amra.","bibliography":"Almagro, M., et al., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, láminas XX-XXII, XXX-XXXI.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Ángeles, 2004, pp. 85-114.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["escena de caza.","fresco"],"materials":["Fresco."]},"4cd253cf-44cf-56c0-9d8c-9c6924980524":{"name":"Fresco de la “familia de reyes”","description":"Fresco, muy deteriorado, situado en el extremo sur del salón de audiencias de Qusayr Amra, en la parte baja del muro occidental. Esta obra ha sido objeto de muchos estudios y se conoce como la “familia de reyes”.  \nEn su estado original, este panel representaba a seis reyes distribuidos en dos filas: los más importantes aparecían en la fila delantera y los secundarios, en la trasera. Tienen los nombres en árabe y griego escritos sobre la cabeza, y los identifican como César, el emperador bizantino; Kisra, el emperador sasánida; Negus, el rey de Abisinia (actual Etiopía); y Rodrigo (Roderico), rey visigodo de Hispania. Por inferencias históricas se ha deducido que las otras dos figuras son el emperador de China y el príncipe gobernante o *jagan* de los turcos. Por suerte, todavía se conservan zonas de la escena, en la que aparecen el rey sasánida y algunas partes del emperador bizantino. El fresco muestra a estos personajes con las manos extendidas rindiendo pleitesía. La figura inferior izquierda (el emperador bizantino, cuya cabeza no se conserva), está vestida con una túnica imperial decorada con pequeños círculos; la figura central (el rey sasánida) es un joven barbilampiño vestido con una larga túnica (*chiton*) de ribete dorado y un manto (*chalmys*) prendido al hombro derecho con una fíbula. La atípica corona del rey sasánida consta de una base coronada por dos pequeñas esferas superpuestas con una media luna.  \nTal y como señaló Oleg Grabar (1954), esta escena no pone de manifiesto las derrotas al modo habitual sasánida o bizantino, por lo que podría interpretarse como una armónica representación de una “familia de reyes”. Asimismo, se cree que facilita la datación del edificio, dado que el rey Rodrigo sólo reinó durante un año hasta 92 / 711, momento en que el ejército omeya lo asesinó. Se creía que el complejo de Qusayr Amra se había construido por orden de al-Walid I (r. 86-96 / 705-715). Sin embargo, el dato del año 92 / 711 aporta una fecha más precisa de la construcción del monumento y parece más probable que fuera llevada a cabo por el sobrino de al-Walid (al-Walid II), que vivió en la región de Azraq.","short_description":"Fresco del salón de audiencias de Qusayr Amra. En su estado original representaba a seis reyes de Bizancio, Persia, Abisinia, Hispania, China y Turquía, cuyos nombres se escribieron en árabe y griego. Rodrigo, el rey hispano, reinó sólo en 92 / 711, lo que aporta la fecha de realización.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-126 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / segunda mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar; la más importante resulta este fresco de la “familia de reyes”, pues en él aparece el rey hispano Rodrigo, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"El fresco se encuentra en el lugar en que fue pintado.","provenance":"Qusayr Amra (Jordania).","obtention":"El fresco se conserva en su ubicación original, Qusayr Amra.","bibliography":"Almagro, M., et al., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, láminas XXII a-b.  \nCreswell, K. A. C., *A short Account of Early Muslim Architecture*, rev. por J. W. Allen, El Cairo, 1989, pp. 112-13, lámina 69.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Ángeles, 2004, pp. 197-226.  \nGrabar, O, “The Painting of the Six Kings at Qusayr Amra”, *Ars Orientalis*, 1, 1954, pp. 185-87.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["fresco","Rodrigo."],"materials":["Fresco."]},"56acaf8e-1d2d-5882-9b67-7d024e5744ff":{"name":"Frescos de bailarinas","description":"Fresco de uno de los compartimentos del *apodyterium* (vestuario) de Qusayr Amra. La sala está cubierta por una bóveda de cañón dividida en secciones romboidales por medio de bandas de hojas pintadas al fresco que contienen diversas escenas pastorales aisladas. En una de las secciones aparece una mujer bailando acompañada de un flautista; lleva una prenda de ropa interior larga marcada con una banda de color rojo oscuro. Los pliegues que se arremolinan en la parte inferior de la falda sugieren movimiento, impresión que se acentúa porque tiene la mano izquierda alzada y la cabeza inclinada.  \nEn la parte interior del arco occidental del salón de audiencias, cerca de la curvatura sur, hay otra bailarina. Está prácticamente desnuda, salvo por un pareo, y lleva pulseras y un brazalete. Esta figura, aunque es voluptuosa, parece moverse con vivacidad, impresión que se consigue gracias a la contorsión de su cuerpo, la contraposición de los brazos y la posición adelantada de la pierna derecha. Este movimiento vigoroso evoca a la bailarina bacante que aparece en el “Desfile báquico” conservado en el Museo Arqueológico de Madaba.","short_description":"Fresco de uno de los compartimentos del *apodyterium* (vestuario) de Qusayr Amra que representa a una bailarina y un flautista. En la curva interior de un arco del salón de audiencias hay otra bailarina. El movimiento de ambas evoca las imágenes de las bacantes.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-124 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / primera mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar, sobre todo el fresco que representa a la “familia de reyes”, donde aparece Roderico (Rodrigo), rey visigodo de Hispania, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"Los frescos se encuentran, respectivamente, en el *apodyterium* y el salón de audiencias de Qusayr Amra.","provenance":"Qusayr Amra (Jordania).","obtention":"Los frescos se hallan en su ubicación original, Qusayr Amra.","bibliography":"Almagro, M., et al., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, láminas XLII b-c.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Ángeles, 2004, pp. 67-68.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["apodyterium","baile","fresco"],"materials":["Fresco."]},"5dcd5e36-d273-5b03-a8de-93f266c0b45c":{"name":"Pavimento pintado.","description":"El arte islámico surgió como una continuación de elementos de periodos anteriores que eran comunes y conocidos en la zona. Este pavimento es un claro ejemplo de la influencia de los mitos romanos. La pintura se aplicó en seco, es decir, después de que se secara la escayola, rehumedecida con un poco de agua. Cubría el suelo de un salón del ala oeste de Qasr al-Hayr al-Garbi, ubicado en el desierto sirio entre Damasco y Palmira.  \nDe forma rectangular, presenta figuras alegóricas rodeadas por un borde de zarcillos de vid. El elemento principal de la composición es el retrato de una mujer de frente, inscrito en un marco circular. Tiene un gesto cordial y parece estar ofreciendo el paño lleno de frutas de colores que tiene en las manos. Luce un collar debajo del cual se ve una serpiente enroscada. Los arqueólogos opinan que esta mujer es Gea, la diosa madre de la mitología grecorromana, que emerge pródiga de la Tierra. El círculo que la rodea está formado por dos líneas blancas con una franja roja en medio, decorada con pequeños círculos blancos con ramos de flores.  \nLa parte superior de la pintura presenta dos “centauros marinos” (mitad hombre y mitad animal) rodeados de decoración vegetal. Ambos sujetan una lanza en la mano izquierda y tienen extendida la derecha. En la parte superior de la pintura se aprecia un grupo de animales entre los que se encuentran dos grullas, dos zorros y un perro.  \nEsta pintura pertenecía al salón de recepciones y en la parte superior se aprecian vestigios de la columna cilíndrica que se apoyaba sobre este pavimento.","short_description":"Esta pintura procede del palacio omeya Qasr al-Hayr al-Garbi, en el desierto sirio. Representa a Gea, la diosa tierra de mitología clásica, símbolo de la prodigalidad y la abundancia. También muestra una continuidad artística y cultural entre la última etapa de la Antigüedad y el primer islam.","holder":"Museo Nacional de Damasco","initial_owner":"Califa Hisham ibn Abd al-Malik (r. 105-125 / 724-743).","dates":"109 de la Hégira / 727 d. C.","dimensions":"Alto 5,21 m; ancho 4,43 m.","method_for_datation":"El pavimento, así como el resto del complejo palaciego, se dató basándose en la inscripción del dintel de la puerta del *jan* adyacente al palacio. En el dintel figura el año 109 de la Hégira (727 d. C.), lo que significa que el complejo se construyó por orden del califa Hisham ibn Abd al-Malik.","method_for_provenance":"La pintura se realizó en el propio Qasr al-Hayr al-Garbi.","provenance":"Desierto sirio, 80 km al suroeste de Palmira.","obtention":"El pavimento se descubrió en el curso de las excavaciones realizadas por los franceses en Qasr al-Hayr al-Garbi en 1936, dirigidas por el arqueólogo Daniel Schlumberger. El descubrimiento de este lugar llevó a la creación de la sección de arte islámico del Museo Nacional de Damasco. Esta pintura y la fachada de escayola del palacio que adorna actualmente la entrada del museo se prepararon para su reubicación en el Museo Nacional en la década de 1940. El ala omeya se inauguró oficialmente en 1950.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausana, 1962, p. 35.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987, fig. 88. \\[Ed. en español: *La formación del arte islámico*, Madrid, 1988.\\]  \nFowden, G., *Qusayr ‘Amra: Art and the Umayyad Elite in Late Antique Syria*, Berkeley, 2004, p. 71, fig. 22.  \nSchlumberger, D., «Deux fresques Omeyyades», *Syria*, XXV, 1946-8, pp. 86-102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, París, 1986, XIV, lámina 35.","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["califa Hisham bin Abd al-Malik","Daniel Schlumberger","en seco","escayola","Gea","palacio del desierto","pintura de suelo","Qasr"],"materials":["Escayola pintada en seco."]},"703bcca9-4c28-508b-8d25-b6f6138c138c":{"name":"Fresco de la cúpula","description":"El *caldarium* o sala caliente de los baños de Qusayr Amra posee una cúpula que está decorada con un fresco de las constelaciones; es la representación más antigua que se conserva de las estrellas en una superficie esférica. Parece ser que la pintura se copió de un manuscrito y se trasladó a la cúpula. Hay diversos errores en la colocación de las constelaciones, lo cual indica que la realizó un artista que no sabía astrología.","short_description":"El fresco de las constelaciones de la cúpula del *caldarium* de Qusayr Amra es la primera representación que se conserva de las estrellas en una superficie esférica. Varios errores en su ubicación indican que su autor no sabía astrología.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-126 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / segunda mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar, sobre todo el fresco que representa a la “familia de reyes”, donde aparece Roderico (Rodrigo), rey visigodo de Hispania, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"El fresco decora la cúpula de la sala caliente del *hammam* de Qusayr Amra.","provenance":"Qusayr Amra (Jordania)","obtention":"El fresco se halla en su ubicación original, Qusayr Amra.","bibliography":"Beer, A., “The Astronomical Significance of the Zodiac of Qusayr Amra”, en K. A. C. Creswell, *Early Muslim Architecture*, Vol. 1, Oxford, 1932, pp. 296-303.  \nBrunet, J.-P., “The Fresco of the Cupola of Qusayr Amra», *Centaurus*, Vol. 40, 1998, pp. 97-123.  \nSaxl, F., “The Zodiac of Qusayr Amra”, en K. A. C. Creswell, *Early Muslim Architecture*, Vol. 1, Oxford, 1932, pp. 289-294.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Astrología","caldarium","constelaciones","cúpula","fresco."],"materials":["Fresco."]},"952ab9d3-ae66-55d8-89bd-8e1f14d55203":{"name":"Fresco de figura femenina al borde de un estanque","description":"Fresco ubicado en la parte central de la zona inferior de la sala de audiencias de Qusayr Amra, que representa a una mujer particularmente alta de pie junto a un estanque. La figura no viste nada de ropa excepto un pareo; sin embargo, lleva pulseras, brazaletes y un collar con colgantes alrededor del cuello; también lleva otro collar más largo, con tres colgantes en forma de pera, que pende entre sus pechos redondeados. Tiene el brazo derecho bajado, ligeramente doblado hacia el muslo, y los dedos índice y meñique de esa mano extendidos. El brazo izquierdo está alzado y doblado hacia el hombro, como si estuviera tirando de una cortina situada detrás de ella. Tiene el cabello cubierto por un turbante con un alfiler circular en la parte frontal.  \nLa actitud de esta bañista es verdaderamente atrevida, lo que explica la atenta mirada del grupo de figuras que la observan desde una balaustrada situada en la arcada de la izquierda. Detrás de la mujer, a su derecha, se ve a un observador gesticulando. El fondo está compuesto por una vista arquitectónica sensacional: una arcada de dos niveles, con balaustradas y una cortina, que recuerda a la disposición de los baños del antepatio del palacio de Jirbat al-Mafyar (Jericó). La posición central de esta mujer alta y semidesnuda, así como su tamaño y su pose, indican que debió de ser un personaje importante, quizá la concubina favorita de quien mandó construir Qusayr Amra.  \nEsta hermosa mujer bañándose recuerda imágenes de Afrodita, la diosa del amor, que tal vez fueran una fuente de inspiración para este fresco.","short_description":"Este fresco del salón de audiencias de Qusayr Amra se inspiró en imágenes de Afrodita. La posición central y el tamaño y la actitud de la figura indican que fue un personaje importante, tal vez la concubina predilecta del patrocinador.","holder":"En su emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (125-126 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / primera mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Se sabe que Qusayr Amra y sus frescos datan del periodo omeya gracias los análisis efectuados en algunas de las pinturas del lugar, sobre todo el fresco que representa a la “familia de reyes”, donde aparece Roderico (Rodrigo), rey visigodo de Hispania, cuyo reinado duró tan sólo un año antes de ser asesinado en 92 / 711, dato que aporta una fecha precisa de la construcción del edificio.","method_for_provenance":"El panel se encuentra en el muro occidental del salón de audiencias de Qusayr Amra.","provenance":"Qusayr Amra (Jordania).","obtention":"El fresco se halla en su ubicación original, Qusayr Amra.","bibliography":"Almagro, M., et al., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, láminas XVI a, XIX a-b; XX a-b.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Ángeles, 2004, pp. 227–247.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["baño","fresco.","Sala de audiencias"],"materials":["Fresco."]},"a821e620-0be1-566e-9efd-535d3a1c2fcd":{"name":"Fragmento de fresco.","description":"El periodo ayyubí se caracterizó por un renacimiento arquitectónico y artístico en el Bilad al-Sham que se vivió no sólo en las ciudades islámicas, sino también en los territorios regiones cristianos. Esta pieza es un fragmento de un fresco que en su día decoró el ábside del altar de la iglesia del monasterio de Mar Yakub (Santiago) cercano a la localidad de Qara, próxima al barro de Salihiyya (norte de Damasco). El panel presenta un ángel alado con una aureola luminosa alrededor de la cabeza. Tiene el pelo largo, recogido con una cinta. Viste ropas blancas y tiene la mano derecha alzada en señal de bendición, al tiempo que sostiene una cuerda con la mano izquierda. Su mirada refleja piedad y fe. En la pintura del fresco se emplearon varios tonos de marrón y gris, además de rojo, azul y verde.  \nLos historiadores del arte afirman que los rasgos iconográficos faciales son los del arcángel Miguel, uno de los ángeles más altos e importantes. Los pliegues de la ropa, los rasgos del rostro y el estilo del sombreado son realmente parecidos a los de las imágenes de la tercera capa de pinturas del monasterio de Mar Musa al-Habashi (San Moisés el Etíope), que está en un lugar cercano y data de la misma época. Es posible que existiera una escuela artística propia de la zona. Este fresco, así como los demás procedentes del monasterio de Mar Yakub, revisten importancia histórica dentro del arte cristiano local de la Edad Media, sobre todo porque son muy pocos los objetos o monumentos de la época que se conservan. Reflejan las tradiciones artísticas de la comunidad cristiana local y presentan influencias bizantinas. Son, asimismo, una prueba de que los cristianos continuaron profesando su fe y expresando sus creencias bajo dominio islámico.","short_description":"La pintura mural heredada de monasterios locales cristianos vivió un renacimiento artístico durante la época ayyubí. Este fragmento de fresco, que posiblemente representa al arcángel Miguel, procede del monasterio Mar Yakub del pueblo de Qara, unos 100 km al norte de Damasco.","holder":"Museo Nacional de Damasco (Departamento de Antigüedades Clásicas).","initial_owner":"Iglesia del monasterio de Santiago o Dair Mar Yakub (Siria).","dates":"Siglo VI o VII de la Hégira / XII o XIII d. C.","dimensions":"Alto 62 cm; ancho 93 cm.","method_for_datation":"Para datar el fresco se analizaron las técnicas usadas –materiales, colores, métodos, etc.– y los elementos estilísticos y se descubrieron marcadas similitudes con otras imágenes encontradas en la región, del norte al sur de Siria, incluido el Líbano. Cabe mencionar que esta pieza data del periodo ayyubí (siglo VI / XII), una época en la que se realizaron innovadoras obras de arte en iglesias y monasterios.","method_for_provenance":"El fresco se retiró del ábside de la iglesia del monasterio de Santiago (Dair Mar Yakub). Este monasterio está en Qara, un pueblo de la cordillera de Qalmun (a las afueras de Damasco). En el museo se guarda registro de la operación.","provenance":"Iglesia del monasterio de Santiago (Dair Mar Yakub) de Qara, ubicado 97 km al norte de Damasco y 15 km al este de Nebek.","obtention":"Se informó a la Dirección General de Antigüedades y Museos de que era necesario restaurar los frescos de la iglesia de Dair Mar Yakub. Dos partes de los paneles se estaban desintegrando y se llevaron al Museo Nacional para su restauración. En ese momento, la Dirección General estimó conveniente conservarlos en el museo, donde se registraron en 1993.","bibliography":"‘Afif, B., “Antiquities of Syria”, *National Mail for Journalism and Publication*, Austria, 1985, p. 2.041.  \nHabib, Z., *Al-Dayarat al-Nasraniya fi al-Islam \\[Monasterios cristianos en el Islam\\]*, Beirut, 1999, p. 3.","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["arte cristiano","estuco","fresco","monasterio.","Panel mural"],"materials":["a su vez sobre una capa de gruesa arcilla preparada. Se dieron pinceladas anchas sobre la capa de escayola mientras aún est","aplicados con la técnica del fresco sobre un revestimiento de estuco","Escayola y pigmentos minerales y metálicos de varios colores"]},"ab5f529a-54db-5914-b779-6e088fe95b11":{"name":"Fresco de oso sentado tocando un instrumento musical.","description":"Fresco de una de las zonas romboidales del *apodyterium* o vestuario de los baños de Qusayr Amra. Representa un oso tocando un instrumento musical, sentado en un taburete, con la pata posterior izquierda colgando y la derecha doblada sobre el asiento, con la planta del pie en contacto con el muslo izquierdo. El oso toca un instrumento de cuerda alargado que parece un laúd. Cerca de él hay un mono de pie que da palmas con las manos. Es probable que esta escena refleje la actuación de dos personas disfrazadas de animales.","short_description":"Fresco del *hammam* de Qusayr Amra en el que se ve a un oso tocando un instrumento musical. Junto a él hay un mono de pie dando palmas. Es probable que la escena represente a dos personas disfrazadas.","holder":"Emplazamiento original, Qusayr Amra.","initial_owner":"Posiblemente al-Walid II (r. 125-126 / 743-744).","dates":"Primer tercio del siglo II de la Hégira / segunda mitad del siglo VIII d. C.","location":"Ammán","method_for_datation":"Qusayr Amra y sus frescos datan del periodo omeya. Su datación exacta se hizo, fundamentalmente, por medio del análisis de algunas de las pinturas del lugar. La más importante es el fresco que representa a seis gobernantes (la “familia de reyes”) cuyos nombres, escritos sobre sus cabezas en árabe y griego, los identifican como: César, emperador bizantino; Kisra, emperador sasánida; el rey de Abisinia (Etiopía) y Rodrigo, el rey visigodo hispano. Por deducción histórica, se ha concluido que los otros dos reyes representados son el emperador de China y el príncipe de los turcos (*jaqan*). Rodrigo reinó durante un año solamente antes de morir asesinado en 92 / 711, y este dato revela la fecha en que se construyó el palacio.","method_for_provenance":"El fresco se encuentra en el *apodyterium* (vesturario) del *hammam* de Qusayr Amra.","provenance":"Qsar Al-Amra (Jordania)","obtention":"Se encuentra en su emplazamiento original.","bibliography":"Almagro, M., *Qusayr Amra. Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, lámina XLIIa.  \nEttinghausen, R., “The Dance with Zoomorphic Masks and other Forms of Entertainment seen in Islamic Art”, *Arabic and Islamic Studies in Honour of H. A. R. Gibb*, Cambridge (Massachusetts), 1965, p. 219.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, L.A., 2004, p. 68; fig. 19.","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["apodyterium","fresco","instrumentos musicales","ud"],"materials":["Pintura al fresco."]},"d861eea4-5eaf-5a74-81c8-1ecb64d9a358":{"name":"Pavimento pintado.","description":"Los palacios omeyas del desierto presentan claras influencias de tradiciones artísticas anteriores, tanto del Imperio Bizantino al oeste como del Imperio Sasánida (el Irán actual) al este. En esta pintura, que cubría el suelo del salón del ala este de Qasr al-Hayr al-Garbi, se aprecia la influencia del arte y la mitología sasánidas.  \nEn la parte superior, bajo dos arcos ornamentados, se ve a dos juglares de la corte tocando instrumentos musicales: un *nai* (un instrumento de viento de madera) y un *oud* (un instrumento de cuerda). En la parte inferior se ve a un cazador sin barba, galopando a lomos de un caballo y vestido al estilo sasánida, con un pañuelo en la cabeza que ondea en el aire; el arco está tensado, listo para disparar la flecha. En el ángulo inferior derecho se ve una gacela que mira atrás mientras huye. Es posible que esta escena esté basada en algún famoso poema épico persa, quizá en las proezas cinegéticas de Bahram Gur.  \nSegún algunos especialistas, este fresco refleja la decisión del califa de reorientar su imperio hacia Oriente en lugar de hacia Occidente, sobre todo tras el fracaso de la conquista musulmana de Constantinopla. Por ello, el califa decidió adoptar la herencia imperial sasánida como modelo para el lenguaje del poder.  \nEsta pintura pertenecía a un salón de recepciones y en la parte superior se aprecian vestigios de la columna cilíndrica que se apoyoba sobre el pavimento.","short_description":"La tradición iconográfica de representar actividades cortesanas, como la imagen del príncipe a lomos de un caballo al galope haciendo alarde de su destreza como cazador, es herencia del Imperio Sasánida preislámico de Persia. Este ejemplo procede del palacio omeya de Qasr al-Hayr al-Garbi, en Siria.","holder":"Museo Nacional de Damasco","initial_owner":"Califa Hisham ibn Abd al-Malik (r. 105-125 / 724-743).","dates":"109 de la Hégira / 727 d. C.","dimensions":"Alto 5 m; ancho 4,85 m.","method_for_datation":"El suelo, así como el resto del complejo palaciego, se dató basándose en la inscripción del dintel de la puerta del *jan* adyacente al palacio. En el dintel figura el año 109 de la Hégira (727 d. C.), lo que significa que el complejo se construyó por orden del califa Hisham bin Abd al-Malik.","method_for_provenance":"La pintura se realizó en el propio Qasr al-Hayr al-Garbi.","provenance":"Desierto sirio, 80 km al suroeste de Palmira.","obtention":"Esta pintura se descubrió en el curso de las excavaciones realizadas por los franceses en Qasr al-Hayr al-Garbi en 1936, dirigida por el arqueólogo Daniel Schlumberger. Cuando la fachada frontal de escayola de Qasr al-Hayr al-Garbi fue trasladada al Museo Nacional en la década de 1940, esta pintura se colocó en la pared de la sala principal de la nueva ala del museo dedicada al *qasr*, inaugurada oficialmente en 1950.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus*, Damasco, 1969, pp. 151-152.  \nEttinghausen, R., *Arab Painting*, Lausana, 1962, p. 37.  \nPapadopoulo, A., *Islam and Muslim Art*, Nueva York, 1979, p. 387, fig. 179.  \nSchlumberger, D., «Deux fresques Omeyyades», *Syria*, XXV, 1946-8, pp. 86-102.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, París, 1986, XIV, lámina 34.","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["califa Hisham bin Abd al-Malik","cazadores","Daniel Schlumberger","en seco","escayola","instrumentos musicales","músico","palacio del desierto","pintura figurativa","Qasr"],"materials":["Escayola pintada en seco."]}}

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@@ -0,0 +1 @@
+{"0c3648d9-9762-55ae-85a2-34844ebd664f":{"name":"Peinture murale de Qousayr Amra.","description":"Une femme, légèrement vêtue mais parée de bijoux, se tient debout face à une niche, elle porte des bracelets, autour du cou un collier orné d'un pendentif circulaire, sa taille aussi est soulignée d'une riche ceinture. Ses cheveux bruns, ornés de rangs de perles blanches, lui tombent sur les épaules. On distingue une niche flanquée de deux colonnes sur piédestal, fermée d'un rideau bleu derrière la figure. Les détails, en particulier ceux de la partie inférieure, sont difficilement discernables à cause des détériorations provoquées par de nombreux graffitis.  \nCette fresque provient de la salle principale du palais de Qousayr Amra, et fait partie des nombreuses figures féminines représentées sur les murs du palais. Les fresques omeyyades privilégient souvent ce genre d'images évoquant la richesse et la liberté de la vie de cour. Toutes les figures féminines sont parées de joyaux, certaines sont nues, d'autres portent de longues robes. Au cours des fêtes données à l'époque dans les milieux de cour, on banquetait, on buvait du vin, on donnait des concerts et des spectacles d'acrobates ou de chanteuses. Les sources contemporaines de la construction du château citent déjà des festivités de ce genre.","short_description":"Ce fragment de mur peint en provenance du palais omeyyade de Qousayr Amra en Jordanie montre une femme légèrement vêtue mais parée de magnifiques bijoux à l'intérieur d'une niche. Parmi les différentes fresques de femme ornant la salle du trône et les bains du palais, celle-ci représente le goût et la vie de cour de l'époque.","holder":"Museum für Islamische Kunst","dates":"règne de al-Walid Ier (86-96 de l’Hégire / 705-715 J.-C.), probablement postérieur à 92 711.","location":"Berlin","dimensions":"H. 205 cm, l. 102 cm.","method_for_datation":"Il convient de dater l'œuvre par analogie avec les peintures murales de Qousayr Amra puisqu'elle fait partie de ce contexte. Du fait de la fresque des six rois, on situe la construction de Qousayr Amra dans la période postérieure à 92/711 du règne de al-Walid Ier.","method_for_provenance":"L'œuvre est de la main du peintre A. Mielich, qui réalisa les dessins à Qousayr Amra immédiatement après la découverte des peintures, ce qui en atteste la provenance. Elle est représentée comme œuvre isolée après son dépôt de l'ensemble dont elle faisait partie sur le site.","provenance":"Palais de Qousayr Amra, Jordanie.","obtention":"Achetée à L. Mielich à Vienne en 1908.","bibliography":"Almagro, M. *et al*., *Qusayr Amra. Residencia y Baños Omeyas en el Desierto de Jordania,* Madrid, 1975.  \nBaer, E., “Female Images in early Islam”, *Damaszener Mitteilungen,* 11, 1999, pp. 13-24, pl. 3.  \nFowden, G., *Qusayr Amra. Art and the Umayyad Elite in Late Antique Syria,* Berkeley, 2004.  \nGrabar, O., “Ummayad Palaces Reconsidered”, *Ars Orientalis* 23, 1993, p. 105, ill. 9.  \nHillenbrand, R., “La Dolce Vita in Early Islamic Syria : The Evidence of Later Umayyad Palaces”, *Art History* 5/1, 1982, pp. 1-35.  \nKaiserliche Akademie der Wissenschaften (éd.), *Kuseijr Amra,* Vienne, 1907, t. I, p. 210, t. II des illustrations, pl. 23.","linkcatalogs":"IAM_JO_FR_001","author":"Annette Hagedorn","translator":"Arlette Camion(de l’allemand).","translation_copy_editor":"Margot Cortez","keywords":["bains","fresque","Omeyyade","palais"],"materials":["fortement endommagée.","Peinture à la fresque sur enduit préparé"]},"1db2b71c-1b13-500e-b0ba-c510c7396de5":{"name":"Fragment de peinture murale.","description":"Ce fragment appartient à un groupe de fresques murales qui ornait jadis les murs de l'étage de Qasr al-Khayr al-Gharbi. Elle montre le visage d'une femme vue de trois-quarts, la tête et les épaules recouvertes d'un châle élégant et délicat. Des boucles noires encadrent son front et ses joues. Elle est représentée sur un fond de motifs géométriques et végétaux stylisés.  \nSes traits sont ceux d'une jeune femme arabe. Les archéologues pensent qu'il s'agit d'une chanteuse. Les sources historiques mentionnent en effet la présence dans les palais omeyyades du désert de Syrie de chanteuses venues de la région du Hijaz, le désert d'Arabie occidentale.","short_description":"Cette peinture omeyyade illustre des traits caractéristiques de la beauté féminine arabe : grands yeux en amande soulignés de kôhl, éclat du globe oculaire contrastant avec la pupille sombre, boucles d'oreille de style bédouin et coiffure au drapé particulier.","holder":"Musée national de Damas.","initial_owner":"Calife Hicham bin ‘Abd al-Malik (r. 105-125 H / 724-743 J.-C.).","dates":"109 de l'Hégire / 727 J.-C.","location":"Damas","dimensions":"H. 41 cm, l. 39 cm.","method_for_datation":"Cette fresque ainsi que les vestiges du complexe palatial ont été datés à partir d'une inscription figurant sur le linteau de la porte du *khan* voisin du palais, soit 109/727. L'inscription précise que le complexe a été édifié par le calife omeyyade Hicham bin ‘Abd al-Malik.","method_for_provenance":"Cette peinture murale a été réalisée in situ à Qasr al-Khayr al-Gharbi.","provenance":"Qasr al-Khayr al-Gharbi, désert de Syrie, à 80 km au sud-ouest de Palmyre.","obtention":"Peinture découverte en 1936 lors de fouilles menées par une équipe française conduite par l'archéologue Daniel Schlumberger à Qasr al-Khayr al-Gharbi. Lorsque la façade en plâtre du palais fut préparée pour son transfert au Musée national au cours des années 1940, cette œuvre fut choisie parmi un important groupe de peintures et exposée à l'étage de la section consacrée au palais.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausanne, 1962.  \nKohlmeyer, K. (éd.), *Land des Baal*, Mayence, 1982.  \nSchlumberger, D., “Deux fresques omeyyades”, *Syria*, XXV, 1946-48.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","author":"Mona al-Moadin","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["al-Hijaz","calife Hicham bin ‘Abd al-Malik","chanteuses","Daniel Schlumberger","fresques","palais du désert","Peintures murales","plâtre","Qasr"],"materials":["Plâtre","technique de la fresque."]},"3a0eac5c-b039-57d4-9958-f23bbfce364b":{"name":"Panneau de fresque “Groupe de musiciens”.","description":"Musiciens et danseurs sont un thème récurrent des fresques de Qousayr Amra. Dans l'écoinçon nord-est de l'aile centrale, près de l'entrée de la salle d'audience, se trouve une représentation d'une danseuse et de trois musiciens : un joueur de tambourin, un flûtiste et un cymbaliste (très endommagé). Le flûtiste porte un vêtement long à col serré décoré d'un motif répété de doubles cercles, de diamants et de fleurons. Le vêtement est maintenu à la taille par une ceinture à deux cordons nouée sur le côté. Le flûtiste tient des deux mains l'instrument qu'il porte à sa bouche.","short_description":"Cette fresque se trouve près de la salle d’audience à Qousayr Amra ; elle représente une danseuse et trois musiciens : un joueur de tambourin, un flûtiste et un joueur de cymbales. Musiciens et danseurs sont un thème récurrent des fresques de Qousayr Amra.w","holder":"*In situ* à Qousayr Amra.","initial_owner":"Peut-être al-Walid II (125-126 H/743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","location":"Amman","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation obtenue essentiellement par l'analyse de certaines peintures *in situ*, dont la plus importante est la fresque représentant six souverains : *La famille des rois*. Leur nom est inscrit au-dessus de leur tête en arabe et en grec : “Caesar”, l'empereur byzantin ; “Kisra”*,* l'empereur sassanide ; le roi d'Abyssinie ; et Roderick, roi wisigoth d'Espagne. Les deux autres ont été identifiés comme étant l'empereur de Chine et le prince régnant (*khaqan*) des Turcs. La présence de Roderick, qui n'a régné qu'un an avant d'être assassiné en 92/711, fournit une indication sur la date de construction du palais.","method_for_provenance":"La fresque se trouve *in situ* à Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"Le panneau se trouve près de l'entrée de la salle d'audience de Qousayr Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planches VI a-b.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp. 66-67.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["fresques","musique","salle d’audience"],"materials":["Fresque."]},"3c8378b6-b15a-5c21-874e-d7a334e3dab5":{"name":"Fragment de fresque de hammam.","description":"Fragment architectural en forme de niche à arc brisé peinte, qui faisait jadis partie d'un hammam. Il est décoré d'une figure exécutée à l'aquarelle rouge et noire sur fond blanc selon la technique de la fresque. Elle représente un jeune homme assis – peut-être un prince – qui tient une coupe dans sa main droite. Il est revêtu d'une grande robe à motifs végétaux de couleur rouge. Deux cercles entourent la partie supérieure de ses bras. Il est coiffé d'un turban plissé d'où dépassent des cheveux à l'avant et sur la nuque. Une auréole encercle sa tête, peut-être pour signaler son rang. Une écharpe aux extrémités flottantes est passée sous ses aisselles.  \nLa niche est encadrée par un arc composé de petits cercles évoquant des perles. La fresque rappelle des peintures découvertes à Samarra (Irak) tant pour le personnage que la forme de la tête, l'auréole, la répétition de motifs décoratifs et le cadre en arc. Par ailleurs le style n'est pas vraiment réaliste, ce qui dénote d'évidentes influences perses. Les fresques fatimides sont assez proches par leur forme, leur style et leur thématique de représentations ornant des céramiques à décor lustré produites en égypte au cours de cette période. La figure de ce fragment peut se comparer à d'autres exemples fatimides figurant sur divers médias : céramiques, bois sculptés et nombreux textiles, même si la peinture est un art décoratif aux qualités spécifiques au cours de la période fatimide.","short_description":"Les hammams étaient des bâtiments d'importance dans le monde islamique en raison de leur rôle dans l'hygiène et la purification du corps. Les murs des bains publics étaient communément décorés de fresques, comme l'exemple que nous voyons ici.","holder":"Musée d’art islamique","dates":"Ve siècle de l’Hégire (XIe siècle J.-C.).","location":"Le Caire","dimensions":"H. 24,5 cm, l. 600 cm.","method_for_datation":"Comparaison avec d'autres peintures de la période, art ayant connu un développement spécifique pendant la période fatimide.","method_for_provenance":"Ce fragment a été découvert *in situ* dans un hammam fatimide de la région de Fustat.","provenance":"Fustat, Égypte.","obtention":"Des fouilles archéologiques conduites par le Centre des antiquités arabes en 1932 ont révélé l'existence d'un hammam fatimide dans la région de Fustat. Certaines pièces découvertes, dont ce fragment architectural, ont été transférées au Musée en 1934 qui les a enregistrées dans ses acquisitions.","bibliography":"Al-Pasha, H., *Al-Taswir al-Islami fi al-Usur al-Wusta* \\[La peinture islamique au Moyen âge\\], Le Caire, 1959.  \n\\_\\_\\_\\_\\_\\_, *Trésors fatimides du Caire*, catalogue d'exposition, Institut du monde arabe, Paris, 1998.  \nGrübe, E., *Cobalt and Lustre: The First Centuries of Islamic Pottery,* Londres, 1994.  \nHassan, Z. M., “Touhaf Jadida min al-Khazaf al-Fatimi dhi al-Bareeq al-Ma'dani \\[Nouvelles céramiques fatimides à décor de lustre métallique\\]”, *Majalat Kouliyat al-Adab* \\[de la faculté des Arts\\], décembre 1951.  \nHassan, Z. M., *Kounouz al-Fatimiyyin* \\[Trésors des Fatimides\\], Beyrouth, 1981.  \nPhilon, H., *Early Islamic Ceramics: Ninth to Twelfth Centuries,* Athènes, vol. 1, Londres, 1980.","author":"Al-Sayyed Muhammad Khalifa Hammad","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["éléments architecturaux","fresques","hammam","représentation figurative","Stuc"],"materials":["Peinture au plâtre et aquarelle rouge et noire."]},"3ef00d87-7d99-5046-8489-348689e5698a":{"name":"Panneau de fresque, “Scène de chasse”.","description":"Scène de chasse occupant l'entière partie supérieure du mur occidental de la salle d'audience de Qousayr Amra. Elle représente un groupe d'onagres (apparemment) dans un enclos, poussé vers un filet où il sera piégé. Le long de la clôture, quelques figures grossièrement représentées tiennent des torches, sans doute pour effrayer les animaux.  \nAu milieu de ces onagres qui se déplacent très vite, se repèrent trois hommes montés sur des chevaux au galop. Le cavalier à l'extrême gauche (sud) vient de tomber de sa monture. Cette scène pleine de mouvement rappelle fortement d'autres similaires observées en Tunisie ou sur les sols de mosaïque de Piazza Amerina en Sicile. à la différence des scènes de chasse sassanides qui montrent un roi occupant la place centrale d'une mise en scène à sa gloire, celle de Qousayr Amra décrit les plaisirs de la chasse et se rapproche des représentations méditerranéennes de cette activité. Sur le mur septentrional de la travée orientale figure ce qui pourrait être la suite de la première scène : les animaux piégés sont tués et éventrés à coups de pieux par des chasseurs pieds nus qui portent des tuniques descendant aux genoux et à longues manches flottantes.","short_description":"Cette fresque se trouve dans la salle d’audience de Qousayr Amra et représente un groupe d’onagres conduits dans un enclos et poussés vers un filet. Rendue avec un sens accusé du mouvement, rappelant des scènes méditerranéennes similaires, elle décrit la chasse comme un loisir agréable.","holder":"*In situ* à Qousayr Amra.","initial_owner":"Peut-être al-Walid II (125-126 H / 743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation essentiellement précisée par l'analyse stylistique de certaines d'entre elles, la plus importante étant celle de la “Famille de rois” (cf. JO 86). Comme Rodéric n'a régné qu'une seule année avant d'être tué en 92/711, cette date est la limite ultime de la construction du monument.","method_for_provenance":"Le panneau se trouve dans la salle d'audience de Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"La fresque se trouve *in situ* à Qousayr Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planches XX-XXII, XXX-XXXI.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp. 85-114.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["fresques","scènes de chasse"],"materials":["Fresque."]},"4cd253cf-44cf-56c0-9d8c-9c6924980524":{"name":"Panneau de fresque, “Famille de rois”.","description":"Fresque située à l'extrémité sud de la salle d'audience en partie basse du mur occidental de Qousayr Amra. Très étudiée et extrêmement endommagée, elle est intitulée “Famille de rois”.  \nDans son état original, elle représentait six rois placés en deux rangées, les monarques les plus importants occupant le premier rang. Leurs noms sont inscrits en arabe et en grec au-dessus de leur tête : “Caesar”, l'empereur byzantin, “Kisra”, l'empereur sassanide, “Negus”, le roi d'Abyssinie et “Rodéric”, le roi wisigoth d'Espagne. Différents éléments ont permis d'établir l'identité des deux autres figures, l'empereur de Chine et le prince régnant le *khaqan* des Turcs. Certaines zones, dont l'image du souverain sassanide et des parties de l'empereur de Byzance, ont été préservées. Les personnages tendent leurs mains comme pour rendre hommage. La figure de gauche (l'empereur byzantin), dont la tête est effacée, est revêtue d'une robe impériale décorée d'un motif répété de petits cercles. La figure centrale (le roi sassanide) est un jeune homme barbu portant une longue robe (chiton), un casque doré et un manteau (chlamyde) attaché sur son épaule droite par une fibule. La couronne sassanide atypique présente un support surmonté de deux petites sphères superposées et d'un croissant.  \nComme Oleg Grabar l'a fait remarquer en 1954, cette fresque ne met pas en scène des vaincus à la manière sassanide ou byzantine habituelle, et peut donc être interprétée comme une représentation de “famille de rois.” L'ensemble fournit également la date de la construction puisque Rodéric ne régna qu'une année et fut tué par les armées omeyyades en 92 H / 711 J.-C. On a donc pensé que le complexe de Qousayr Amra avait été édifié par al-Walid (r. 986-996 H / 705-715 J.-C.). La date de 92 H / 711 J.-C. marque cependant la limite de celle de la construction du monument, et il est plus probable qu'il a été érigé par le neveu d'Al-Walid, Al-Walid II, dont on sait qu'il vécut dans la région d'Azraq.","short_description":"Ce panneau de fresque se trouve dans la salle d’audience de Qousayr Amra. Dans son état original, elle représentait les six monarques de Byzance, de Perse, d’Abyssinie, d’Espagne, de Chine et les Turcs, dont les noms étaient écrits en arabe et en grec. Comme Rodéric d’Espagne n’a régné qu’en 92 H / 711 J.-C., on connaît le terminus post quem de la construction.","holder":"*In situ* à Qousayr Amra.","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation essentiellement précisée par l'analyse stylistique de certaines d'entre elles, la plus importante étant celle-ci. Comme Rodéric n'a régné qu'une seule année avant d'être tué en 92/711, cette date est la limite ultime de la construction du monument.","method_for_provenance":"Ce panneau de fresque se trouve dans la salle d'audience de Qousayr Amra, Jordanie.","provenance":"Qousayr Amra, Jordanie.","obtention":"La fresque se trouve *in situ* à Qousayr Amra.","bibliography":"Almagro, M. *et al*., *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planches XXII a-b.  \nCreswell, K. A. C., *A short Account of Early Muslim Architecture*, révisé par J. W. Allen, Le Caire, 1989, pp. 112-113, planche 69.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria, LA*, 2004, pp. 197-226.  \nGrabar, 0, “The Painting of the Six Kings at Qusayr Amra”, *Ars Orientalis*, 1, 1954, pp. 185-187.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["fresque","Rodéric"],"materials":["Fresque."]},"56acaf8e-1d2d-5882-9b67-7d024e5744ff":{"name":"Panneau de fresque, “Danseuses”.","description":"Fresque de l'un des compartiments de l'*apodyterium* (vestiaire) de Qousayr Amra. Ce vestiaire se trouve sous une voûte en berceau divisée en compartiments en pointes de diamant par des bandeaux à fresque de feuillage contenant une multiplicité de scènes pastorales isolées. Un compartiment représente une danseuse accompagnée par un flûtiste. Elle porte un long jupon indiqué par un bandeau de couleur rouge sombre. Les plis tourbillonnants du bas de sa robe suggèrent une impression de mouvement, qu'accentuent le bras gauche levé et l'inclinaison de la tête.  \nSur l'intrados de l'arche occidentale de la salle d'audience, près de la courbe sud, figure une autre danseuse. Celle-ci est nue à l'exception d'un pagne, de bracelets de poignet et de bras. Voluptueusement représentée, la figure exprime un mouvement plein de vivacité par la torsion de son corps, la position opposée des bras et le lancer avant de la jambe droite. Ce mouvement vigoureux rappelle ceux des bacchantes de la “Procession bachique” aujourd'hui au Musée archéologique de Madaba.","short_description":"Fresque de l’un des compartiments de l’*apodyterium* (vestiaire) de Qousayr Amra représentant une danseuse et un flûtiste ; sur l’intrados de l’arche de la salle d’audience figure une autre danseuse. Toutes deux par leurs mouvements évoquent des Bacchantes en train de danser.","holder":"*In situ* à Qousayr Amra.","initial_owner":"Peut-être al-Walid II (125-126 H / 743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation essentiellement précisée par l'analyse stylistique de certaines d'entre elles, la plus importante étant celle de la “Famille de rois” (cf. JO 86). Comme Rodéric n'a régné qu'une seule année avant d'être tué en 92/711, cette date est la limite ultime de la construction du monument.","method_for_provenance":"L'un des panneaux se trouve dans l'*apodyterium*, l'autre dans la salle d'audience de Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"La fresque se trouve *in situ* à Qousayr Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planches XLII b-c.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp. 67-68.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["apodyterium","danse","fresques"],"materials":["Fresque."]},"5dcd5e36-d273-5b03-a8de-93f266c0b45c":{"name":"Peinture de sol.","description":"L'art islamique à ses débuts est la continuation de techniques et d'éléments stylistiques courants et bien connus appartenant aux périodes précédentes. Ce panneau fournit un bon exemple de l'influence des mythes romains. Il a été peint selon une technique dite *a secco* dans laquelle la peinture est appliquée sur un plâtre sec qui est ensuite légèrement réhumidifié pour favoriser la fixation. Ce panneau recouvrait une partie du sol de la salle de réception de l'aile ouest de Qasr al-Khayr al-Gharbi, dans le désert de Syrie entre Damas et Palmyre. De format rectangulaire, il est cerné d'une bordure de feuilles de vigne et de figures allégoriques. Un portrait frontal de femme dans un cadre circulaire domine la composition. Son visage est agréable et elle tient entre ses mains un tissu rempli de fruits colorés. Elle porte un collier en dessous duquel se love un serpent. Les archéologues pensent qu'il s'agit de Gaia, la déesse-mère de la mythologie romaine. Le cercle qui l'entoure est défini par deux lignes blanches encadrant un champ rouge décoré de petits cercles blancs, chacun contenant un bouquet de fleurs.  \nLa partie supérieure du panneau est occupée par deux centaures marins. Entourés de feuillage, tous deux portent un épieu dans la main gauche et tendent la main droite. Dans la partie basse se trouve un groupe d'animaux dont deux grues, deux renards et un chien.  \nLa partie supérieure conserve la trace d'une colonne cylindrique qui reposait sans doute à cet endroit.","short_description":"Fresque provenant du palais omeyyade de Qasr al-Khayr al-Gharbi, dans le désert syrien. Elle représente la déesse de la terre de la mythologie romaine, Gaia, symbole de générosité et d'abondance, et illustre la continuité artistique et culturelle entre l'Antiquité finissante et les débuts de l'islam.","holder":"Musée national de Damas.","initial_owner":"Calife Hicham bin ‘Abd al-Malik (r. 105-125 H / 724-743 J.-C.).","dates":"109 de l'Hégire / 727 J.-C.","location":"Damas","dimensions":"L. 5,21 m, l. 4,43 m","method_for_datation":"Le sol, ainsi que les vestiges du complexe palatial, ont été datés grâce à l’inscription figurant sur le linteau de la porte du khan voisin du palais, soit 109/727. L'inscription précise que le complexe a été édifié par le calife Hicham bin ‘Abd al-Malik.","method_for_provenance":"Cette peinture au sol a été réalisée sur place à Qasr al-Khayr al-Gharbi.","provenance":"Qasr al-Khayr al-Gharbi, désert de Syrie, à 80 km au sud de Palmyre.","obtention":"Cette peinture a été découverte en 1936 lors de fouilles menées par une équipe française conduite par l'archéologue Daniel Schlumberger à Qasr al-Khayr al-Gharbi. La découverte de ce site a conduit au développement de la section Arts islamiques au Musée national de Damas. Cette peinture de sol, ainsi que la façade en plâtre du palais qui orne aujourd'hui l'entrée du musée, ont été préparées pour leur transfert à Damas au cours des années 1940. L'aile omeyyade a été inaugurée en 1950.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausanne, 1962.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987.  \nFowden, G., *Qousayr ‘Amra: Art and the Umayyad Elite in Late Antique Syria,* Californie, 2004.  \nSchlumberger, D., “Deux fresques omeyyades”, *Syria*, XXV, 1946-48.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","author":"Mona al-Moadin","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["calife Hicham bin ‘Abd al-Malik","Daniel Schlumberger","Gaia","palais du désert","peinture de sol","plâtre","Qasr"],"materials":["peinture","Plâtre","technique a secco."]},"703bcca9-4c28-508b-8d25-b6f6138c138c":{"name":"Fresque de coupole.","description":"Le *caldarium*, ou pièce chaude, du hammam de Qousayr Amra est surmonté d'une coupole décorée d'une fresque représentant les constellations. Il s'agit de la plus ancienne représentation subsistante d'astres sur une surface sphérique. La fresque a sans doute été copiée dans un manuscrit. Un certain nombre d'erreurs dans l'emplacement des constellations montre que le peintre n'avait pas de connaissances astrologiques.","short_description":"La fresque des constellations de la coupole du caldarium de Qousayr Amra est la plus ancienne représentation d’étoiles sur une surface sphérique à nous être parvenue. Un certain nombre d’erreurs dans le positionnement des astres montre que le peintre n’avait pas de connaissances astrologiques.","holder":"*In situ *à Qousayr Amra.**","initial_owner":"Peut-être al-Walid II (125-126 H / 743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation essentiellement précisée par l'analyse stylistique de certaines d'entre elles, la plus importante étant celle de la “Famille de rois” (cf. JO 86). Comme Rodéric n'a régné qu'une seule année avant d'être tué en 92/711, cette date est la limite ultime de la construction du monument.","method_for_provenance":"Le panneau décore la coupole du *caldarium* du hammam de Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"La fresque se trouve *in situ* à Qousayr Amra.","bibliography":"Beer, A., “The Astronomical Significance of the Zodiac of Qusayr Amra”, in K. A. C. Creswell, *Early Muslim Architecture*, vol. 1, Oxford, 1932, pp. 296-303.  \nBrunet, J.-P., “The Fresco of the Cupola of Qusayr Amra”, *Centaurus*, vol. 40, 1998, pp. 97-123.  \nSaxl, F., “The Zodiac of Qusayr Amra”, in K. A. C. Creswell, *Early Muslim Architecture*, vol. 1, Oxford, 1932, pp. 289-294.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["astrologie","caldarium","constellations","coupoles","fresques"],"materials":["Fresque."]},"952ab9d3-ae66-55d8-89bd-8e1f14d55203":{"name":"Panneau de fresque, “Grande Figure féminine au bord d’un bassin”.","description":"Fresque de la partie centrale sous la voûte de la salle d'audience de Qousayr Amra représentant une femme étonnamment grande, debout au bord d'un bassin. Nue, à l'exception d'un pagne, elle porte des bracelets de poignets et de bras, un collier à pendants autour du cou et un autre plus long à trois pendants piriformes qui se glisse entre ses seins ronds. Son bras droit baissé est légèrement tourné vers sa cuisse droite tandis que l'index et le petit doigt de sa main droite sont dressés. Le bras gauche est levé, penché vers l'épaule comme si elle tirait un rideau derrière elle. Ses cheveux sont recouverts d'un turban fixé sur le devant par une épingle.  \nCette baigneuse à la fière attitude est à l'évidence très admirée par les personnages qui la regardent de derrière une balustrade dans l'arcade de gauche. Derrière elle, à droite, s'affaire une servante. Dans le fond apparaît un panorama architectural impressionnant : arcade sur deux niveaux avec rideaux et balustrades, peut-être une représentation d'une architecture de bassin semblable à celle de l'avant-cour du palais de Khirbat al-Mafjar à Jéricho. La position centrale de la figure principale, sa taille et son attitude indiquent qu'elle était sans doute un important personnage, peut-être la concubine favorite du seigneur de Qousayr Amra. Cette beauté évoque des images d'Aphrodite, déesse de l'amour, qui ont pu servir d'inspiration à ce panneau.","short_description":"Ce panneau de fresque se trouve dans la salle d’audience à Qousayr Amra et est inspiré des images d’Aphrodite. La position centrale de la femme, sa taille et son attitude indiquent qu’elle était sans doute un important personnage, peut-être la concubine favorite du seigneur.","holder":"*In situ* à Qousayr Amra.","initial_owner":"Peut-être al-Walid II (125-126 H / 743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation obtenue essentiellement par l'analyse de certaines peintures *in situ*, dont la plus importante est la fresque représentant six souverains : *La famille des rois*. Leur nom est inscrit au-dessus de leur tête en arabe et en grec : “Caesar”, l'empereur byzantin ; “Kisra”*,* l'empereur sassanide ; le roi d'Abyssinie ; et Roderick, roi wisigoth d'Espagne. Les deux autres ont été identifiés comme étant l'empereur de Chine et le prince régnant (*khaqan*) des Turcs. La présence de Roderick, qui n'a régné qu'un an avant d'être assassiné en 92/711, fournit une indication sur la date de construction du palais.","method_for_provenance":"Le panneau se trouve sur le mur occidental de la salle d'audience de Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"La fresque se trouve *in situ* à Qousayr Amra.","bibliography":"Almagro, M., et al, *Qusayr 'Amra: Residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planches XVI a, XIX a-b, XX a-b.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, Los Angeles, 2004, pp. 227-247.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["fresques","musique","salle d’audience"],"materials":["Fresque."]},"a821e620-0be1-566e-9efd-535d3a1c2fcd":{"name":"Fragment de panneau de fresque.","description":"La période ayyoubide connut une renaissance architecturale et artistique dans le Bilad al-Cham, aussi bien dans les villes islamiques que chrétiennes. Ce fragment est une partie de panneau qui décorait jadis l'abside de l'église du monastère de Mar Yacoub (Saint-Jacques) proche du village de Qara, près de Salihiyya au nord de Damas. Il représente un ange ailé à la tête auréolée de lumière. Sa longue chevelure est maintenue par un filet. Il porte des vêtements blancs, lève la main droite en signe de bénédiction et tient une corde dans sa main gauche. Son regard reflète foi et piété. Le panneau a été exécuté en différentes nuances de brun et de gris, de rouge, bleu et vert.  \nLes historiens de l'art ont noté que ces traits faciaux étaient ceux de l'archange Michel. Les plis des vêtements, les traits et le style d'ombrage sont très voisines des peintures en trois couches du proche monastère de Mar Moussa al-Habachi (Moïse l'éthiopien), qui étaient appréciées à la même époque. On peut même penser que cette région possédait sa propre école artistique. Ce panneau ainsi que ceux du monastère de Mar Yacoub présentent une grande importance pour l'histoire de l'art chrétien local, qui remonte au Moyen âge, en particulier parce que très peu d'artefacts ou de monuments de cette période de l'histoire chrétienne sont parvenus jusqu'à nous. Ils reflètent des traditions artistiques de la communauté chrétienne locale et l'existence d'influences byzantines. Ils apportent également la preuve visuelle que les chrétiens continuèrent à mettre en pratique leurs croyances et à exprimer leur foi sous la loi islamique.","short_description":"La peinture murale dans les monastères chrétiens connut une renaissance artistique pendant la période ayyoubide. Ce fragment de fresque, représentant sans doute l'archange Michel, provient du monastère de Deir Mar Yakoub dans le village de Qara, à 100 km environ au nord de Damas.","holder":"Musée national de Damas.","initial_owner":"Église du monastère de Saint-Jacques (Deir Mar Yakoub), Syrie.","dates":"VIe-VIIe siècle de l'Hégire (XIIe-XIIIe siècle J.-C.).","location":"Damas","dimensions":"H. 62 cm, l. 93 cm.","method_for_datation":"Comparaison à la fois des techniques utilisées (matériaux, couleurs, méthodes) et des éléments stylistiques représentés, avec d'autres fresques de la région (Syrie et Liban). On peut noter que cette fresque date de la période ayyoubide (VIe/XIIe siècle), période d'innovation artistique dans les églises et les monastères.","method_for_provenance":"La fresque a été prélevée dans l'abside de l'église du monastère de Saint-Jacques (Deir Mar Yakoub), située dans le village de Qara dans les montagnes de Qalmoum, comme il est indiqué dans les archives du Musée national de Damas.","provenance":"Église du monastère de Saint-Jacques (Deir Mar Yakoub) à Qara, à 97 km au nord de Damas et 15 km à l'est de Nebek.","obtention":"La fresque a été prélevée dans l'abside de l'église du monastère de Saint-Jacques (Deir Mar Yakoub), situé à Qara dans les montagnes de Qalmoum. Deux parties du panneau qui se désintégraient ont été transportées au Musée national pour être restaurées. à l'époque, la Direction des antiquités jugea qu'il était préférable de les conserver au musée où elles ont été enregistrées en 1993.","bibliography":"'Afif, B., “Antiquities of Syria”, *National Mail for Journalism and Publication*, Autriche, 1985.  \nHabib, Z., Al-*Dayarat al-Nasraniya fi al-Islam* \\[Monastères chrétiens en terres d'islam\\], Beyrouth, 1999.","author":"Dina Bakkour","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["art chrétien","fresques","monastère","Panneaux muraux","Stuc"]},"ab5f529a-54db-5914-b779-6e088fe95b11":{"name":"Panneau de fresque, “Ours assis jouant d’un instrument de musique”.","description":"Cette fresque fait partie des quartiers de la voûte de l'*apodyterium* ou vestiaire du complexe de bains (*hammam*) de Qousayr Amra. Elle représente un ours jouant d'un instrument de musique, assis sur un tabouret, la patte gauche ballante tandis que la droite, repliée, repose sur le siège et touche la cuisse gauche. Il joue d'un instrument à cordes de forme allongée qui pourrait être un oud. Près de lui, un singe debout frappe dans ses mains. Il est probable que cette scène décrit deux personnages déguisés en ours et en singe.","short_description":"Fresque faisant partie du complexe de bains (*hammam*) de Qousayr Amra, représentant un ours jouant d’un instrument de musique. Près de l’ours, un singe debout frappe dans ses mains. Il est probable que cette scène décrit deux personnages déguisés en animaux.","holder":"*In situ* à Qousayr Amra.","initial_owner":"Peut-être al-Walid II (r. 125-126 H / 743-744 J.-C.).","dates":"Premier tiers du IIe siècle de l’Hégire (première moitié du VIIIe siècle J.-C.).","location":"Amman.","method_for_datation":"Qousayr Amra et ses fresques remontent à la période omeyyade, datation obtenue essentiellement par l'analyse de certaines peintures *in situ*, dont la plus importante est la fresque représentant six souverains : *La famille des rois*. Leur nom est inscrit au-dessus de leur tête en arabe et en grec : “Caesar”, l'empereur byzantin ; “Kisra”*,* l'empereur sassanide ; le roi d'Abyssinie ; et Roderick, roi wisigoth d'Espagne. Les deux autres ont été identifiés comme étant l'empereur de Chine et le prince régnant (*khaqan*) des Turcs. La présence de Roderick, qui n'a régné qu'un an avant d'être assassiné en 92/711, fournit une indication sur la date de construction du palais.","method_for_provenance":"La fresque se trouve dans l'*apodyterium* (vestiaire) du *hammam* de Qousayr Amra.","provenance":"Qousayr Amra, Jordanie.","obtention":"*In situ* à Qousayr Amra.","bibliography":"Almagro, M., *Qusayr Amra : residencia y baños omeyas en el desierto de Jordania*, Madrid, 1975, planche XLII a.  \nEttinghausen, R., “The Dance with Zoomorphic Masks and other Forms of Entertainment seen in Islamic Art”, in *Arabic and Islamic Studies in Honour of H. A. R. Gibb*, Cambridge, Mass., 1965, p. 219.  \nFowden, G., *Qusayr Amra: Art and the Umayyad Elite in Late Antique Syria*, L.A., 2004, p. 68, fig. 19.","linkcatalogs":"IAM_JO_FR_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["apodyterium","fresques","instruments de musique","oud"],"materials":["Fresque."]},"d861eea4-5eaf-5a74-81c8-1ecb64d9a358":{"name":"Peinture de sol.","description":"Les palais omeyyades du désert témoignent clairement de l'influence de traditions artistiques antérieures aussi bien issues de l'empire byzantin à l'ouest que de l'empire sassanide (Iran actuel) à l'est. Cette peinture s'inspire des arts et de la mythologie perses. Elle recouvrait le sol de la salle de réception de l'aile orientale de Qasr al-Khayr al-Gharbi.  \nLa partie supérieure représente deux ménestrels de cour jouant d'instruments musicaux : un *nai* (instrument à vent en bois) et un *oud* (instrument à cordes) sous deux arcs ornementés. La partie inférieure figure un chasseur glabre galopant sur sa monture. Il est habillé à la manière sassanide. Son turban flotte derrière sa tête, son arc et ses flèches sont à portée immédiate de sa main. En bas à droite est reproduite une gazelle qui s'enfuit en regardant derrière elle. Il est possible que cette scène illustre une des fameuses épopées perses, sans doute les exploits de chasseur de Bahram Gur.  \nCertains chercheurs en ont déduit que cette fresque révélait le choix du calife de réorienter son empire vers l'est plutôt que l'ouest, en particulier après l'échec de la prise de Constantinople. Il aurait décidé d'adopter l'héritage impérial sassanide pour modèle d'expression de son pouvoir.  \nOn note en partie supérieure l'emplacement probable d'une colonne cylindrique.","short_description":"Les traditions iconographiques de représentation de la vie de cour sont issues de l'empire persan sassanide, pré-islamique. Cette image de prince chasseur au galop fait partie d'une fresque du palais syrien de Qasr al-Khayr al-Gharbi.","holder":"Musée national de Damas.","initial_owner":"Calife Hicham bin ‘Abd al-Malik (r. 105-125 H / 724-743 J.-C.).","dates":"109 de l'Hégire / 727 J.-C.","location":"Damas","dimensions":"L. 5 m, l. 4,85 m.","method_for_datation":"Le sol, ainsi que les vestiges du complexe palatial, ont été datés à partir d'une inscription figurant sur le linteau de la porte du khan voisin du palais, soit 109/727. Le texte précise que le complexe a été édifié par le calife omeyyade Hicham bin ‘Abd al-Malik.","method_for_provenance":"Cette peinture au sol a été réalisée in situ à Qasr al-Khayr al-Gharbi.","provenance":"Qasr al-Khayr al-Gharbi, désert de Syrie, à 80 km au sud de Palmyre.","obtention":"Cette peinture a été découverte en 1936 lors de fouilles menées par une équipe française conduite par l'archéologue Daniel Schlumberger à Qasr al-Khayr al-Gharbi. Lorsque du transfert de la façade en plâtre du palais au Musée national au cours des années 1940, cette peinture fut fixée au mur de la salle principale de la nouvelle aile de Qasr al-Khayr al-Gharbi, officiellement inaugurée en 1950.","bibliography":"Ettinghausen, R., *Arab Painting*, Lausanne, 1962.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987.  \nFowden, G., *Qousayr ‘Amra: Art and the Umayyad Elite in Late Antique Syria,* Californie, 2004.  \nSchlumberger, D., “Deux fresques omeyyades”, *Syria*, XXV, 1946-48.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","author":"Mona al-Moadin","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["calife Hicham bin ‘Abd al-Malik","Daniel Schlumberger","Gaea","musicien","mythologie romaine","palais du désert","peinture de sol","plâtre","Qasr"],"materials":["peinture selon la technique a secco.","Plâtre"]}}

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+{"0c0f679d-8d6d-5029-909d-ce520571b901":{"name":"*Concilio degli dei*","description":"L'affresco fu commissionato a Lanfranco dal cardinale Scipione Borghese come decorazione della volta del grande ambiente collocato al primo piano del Casino Pinciano, all'epoca concepito come loggia aperta sul parco della villa. Il pittore ideò la suggestione di un sistema di trabeazione dipinta in prospettiva lungo il perimetro delle pareti, sorretto da coppie di telamoni alternate a lunette. All'interno di queste ultime, aperte verso l'orizzonte, campeggiano le personificazioni dei fiumi del globo.  Il riquadro centrale è realizzato come uno “sfondato” verso l'empireo, dove gli dei appaiono radunati in concilio fra le nubi.  Vi si possono scorgere, tra gli altri, Giove, in posizione centrale tra le figure femminili di Giunone e Venere;  proseguendo verso destra: Marte, riconoscibile dall'elmo; Apollo con il capo incorniciato di luce; Mercurio in volo; Bacco con i mano il grappolo d'uva; un fauno che, seduto in primo piano, guarda in basso verso gli spettatori. Al centro, sotto il padre dei dei, si riconoscono Plutone e Proserpina con il cane Cerbero; a sinistra: Nettuno e Cerere; il Tempo con la falce; Pan, con le fattezze di satiro e, all'estremità, Minerva con il ramo di ulivo. La simulazione di uno spazio aperto e la straordinaria fantasia nella disposizione delle figure librate nello spazio appaiono chiaramente ispirate alle opere del conterraneo artista cinquecentesco Antonio Allegri, detto il Correggio, autore degli affreschi delle cupole parmensi. Tuttavia appare in modo evidente, nell'amplificazione delle forme e nella capacità di esprimere il libero fluire dell'immaginazione, la forza della sua innovativa creatività che, proprio nell'affresco della Loggia di Villa Borghese, dà il via alla stagione della grande decorazione barocca.  \nAlla fine del sec. XVIII, durante la ristrutturazione della palazzina, venne decisa la chiusura della Loggia. L'affresco di Lanfranco fu restaurato e integrato tra il 1779 e il 1782 dal pittore viterbese Domenico Corvi (1721-1803).","short_description":"Il pittore Giovanni Lanfranco realizzò per il cardinale Scipione uno dei primi esempi di pittura barocca a Roma: *Il concilio degli dei* nella loggia di Villa Borghese. Originariamente una loggia aperta, il grande salone è stato decorato da Lanfranco utilizzando l'artificio illusionistico del “quadro riportato”, di tradizione romana. La loggia fu chiusa nel 1779 e fu restaurata da Domenico Corvi, pittore rappresentativo a Roma dello stile neoclassico.","type":"Dipinto","holder":"Galleria Borghese, volta della Loggia","owner":"Stato Italiano","dates":"1624-25","location":"Roma","obtention":"La palazzina Borghese è stata acquistata dallo Stato Italiano nel 1902","bibliography":"Hibbard H., “The date of Lanfranco's fresco in the Villa Borghese and other chronological problems”, in *Miscellanea Bibliothecae Hertzianae in onore di L. Bruhns, F. Graf, W. Metternich, L. Schudt* (*R**ö**mische Forschungen der Bibliotheca Hertziana*, XIV, 1961), pp. 355-365.  \n   \nFerrara L., “Domenco Corvi nella Galleria Borghese”, in *Rivista Nazionale dell'Istituto d'Archeologia e Storia dell'Arte*, XXI-XXII, 1976, pp. 169-217.  \n   \nFicacci L., “Lanfranco e la nascita del Barocco”, in *Bernini scultore. La nascita del Barocco in Casa Borghese*, catalogo della mostra, Roma, 1998, pp. 332-355.  \n   \n*Giovanni Lanfranco. Un pittore barocco tra Parma, Roma e Napoli*, catalogo della mostra, (Parma, Napoli, Roma), Milano, 2001, cat. nn. D23, D24, D25 pp. 370-372.","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","keywords":["Affresco","architettura palatina","Mitologia","quadro riportato","telamoni","trompe-l'oeil"],"materials":["affresco"]},"1742423d-bc43-5549-97f2-886d73820309":{"name":"*Apoteosi di Romolo*","description":"L'affresco di notevolissime dimensioni, decora la volta del salone d'ingresso della Villa Borghese. Esso venne realizzato, insieme con la decorazione delle pareti, durante i lavori di ristrutturazione della palazzina voluti da Marcantonio IV Borghese e diretti all'architetto Antonio Asprucci (1723-1808). La volta fu affrescata tra il 1775 e il 1779 dal pittore siciliano Mariano Rossi, che vi rappresentò l'*Apoteosi di Romolo*. Il mitico fondatore di Roma vi compare due volte: in posizione quasi centrale, davanti a Giove, e, lungo il lato destro, insieme con la lupa, a ricordo della leggendaria fondazione della città eterna. Sul lato della volta opposto all'ingresso principale è raffigurato Furio Camillo nella battaglia vittoriosa con i Galli invasori, guidati da Brenno. Il significato allegorico della rappresentazione intendeva esaltare il collegamento tra le due figure: Romolo, in quanto fondatore di Roma, e Furio Camillo, che per le sue gesta eroiche era chiamato “secondo Romolo” e ritenuto dalle fonti antiche (Eutropio) un nuovo fondatore della patria. Poiché l'affresco fu eseguito poco dopo la nascita di Camillo (1775-1832), primogenito di Marcantonio IV, appare chiaro l'intento celebrativo, tanto più che il nome del giovane erede reiterava quello del più prestigioso esponente della famiglia: quel Camillo Borghese assurto al soglio pontificio come Paolo V (1552-1621), la cui immagine di rifondatore della Roma cristiana aveva esaltato la gloria e la romanità della famiglia.  \nLa straordinaria padronanza delle proporzioni e delle campiture spaziali, l'ampiezza e la scioltezza della pennellata, la grandiosità scenografica dell'insieme rendono quest'opera uno degli ultimi bagliori della pittura barocca romana, già percorsa, nei particolari di ispirazione arcadica e nella cromia chiara e luminosa, dall'influsso del classicismo settecentesco.","short_description":"Celebrazione della civiltà romana e della famiglia Borghese, la volta fu dipinta per la nascita del primogenito di Marcantonio IV Borghese, Camillo. L'affresco è stato realizzato dal siciliano Mariano Rossi e mostra l'evoluzione dello stile tardo barocco.","type":"Dipinto","holder":"Galleria Borghese, volta del Salone d’Ingresso","owner":"Stato Italiano","dates":"1775-1779","location":"Roma","obtention":"La palazzina Borghese è stata acquistata dallo Stato Italiano nel 1902","bibliography":"Petereit Guicciardi S. *Das Casino Borghese : Dekoration und Inhalt*, Wien, 1983, pp. 5-8  \n   \nPaul C. Mariano Rossi's Camillus Fresco in the Borghese Gallery, in “*Art Bulletin”,* 74, 1992, pp. 297-326","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","keywords":["Affresco","Arcadia","Mitologia","Modello classico","pittori siciliani"],"materials":["Dipinto murale"]}}

package/translations/partners.ar.json

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+{"33f89573-8b54-5c1a-86ba-1663e604740f":{"name":"متحف الآثار الأردني","description":"تأسس المتحف عام 1951 من قبل دائرة الآثار الأردنية في قلعة عمان على تل يسمى جبل القلعة. وتبلغ مساحة المبنى 525 مترا مربعا وهو مبني بطابقين.حيث يستخدم الطابق الأرضي للتخزين ، ويضم الطابق الأول منطقة العرض التي تتكون من ثلاث قاعات عرض ومكاتب إدارية.  \nيضم المتحف العديد من القطع الأثرية الموجودة في مختلف المواقع الأثرية في الأردن والتي تمثل مسار الحضارة في هذه المنطقة عبر تاريخها الطويل. وقد تم ترتيب المجموعة الواسعة ترتيبًا زمنيًا حسب الفترات التاريخية ، من العصور الحجرية إلى العصور الإسلامية.  \nتُعرض المجموعة الفنية الإسلامية في إحدى قاعات العرض في إحدى عشرة صالة عرض تتكون من: أواني فخارية من العصر الأموي إلى العصر المملوكي. الأواني الزجاجية من الفترة المملوكية إلى العصر العثماني ؛ أواني صخرية طرية من العصر الأموي ؛ العملات المعدنية من جميع الأنواع والفترات ؛ المشغولات المعدنية والأواني الفخارية من الفترة الأموية إلى المملوكية. دروع وسيوف حديدية من العصر المملوكي. حجارة منحوتة من العصر الأموي. أربع نسخ متماثلة من الجبس لعناصر معمارية من قصر خربة المفجر في أريحا (شبابيك وسقف وقبة من الحمام).  \nإن نقص المساحة يمنع عرض المعارض المؤقتة ؛ ومع ذلك ، يشارك المتحف في العديد من المعارض المحلية والدولية التي تقام في الأردن والخارج لعرض تاريخ وآثار الأردن على مر العصور.  \nيوجد ثلاثة أمناء يتشاركون مسؤولية رعاية المجموعة الكاملة للمتحف.","city":"عمّان","address":"Citadel of Amman  \nP.O. Box 88  \nAmman, Jordan","phone":"+962 6 463 8795"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"متحف الفن الإسلامي في متحف بيرغامون ، المتاحف الحكومية","description":"سيتم إغلاق متحف الفن الإسلامي في الفترة من أكتوبر 2023 إلى مارس 2027 بسبب أعمال التجديد والتوسعة.  \n  \nيعد متحف الفن الإسلامي في متحف بيرغامون برلين Museum of Islamic Art at the Pergamon Museum Berlin المؤسسة الوحيدة من نوعها في ألمانيا ، والأقدم في الغرب وفيه نحو 93000 قطعة تضم واحدة من أرقى مجموعات الفن الإسلامي في العالم من جميع مناطق الحكم الإسلامي تقريبًا.  \nمجموعاته غنية بشكل خاص بقطع من سياق معماري بما في ذلك الواجهة الضخمة لقصر الخلافة في المشتى (الأردن) Mshatta (Jordan)، الذي يعود تاريخه إلى منتصف القرن الثامن. وهذه الواجهة هي أكبر قطعة أثرية للفن الإسلامي في أي متحف في جميع أنحاء العالم. والقبة الفريدة من قصر الحمراء Alhambra Palace في غرناطة (إسبانيا) Granada (Spain) ومشاكي الصلاة من القرن الثالث عشر من كاشان (إيران) وقونية (تركيا) هي من بين المعالم البارزة في هذا المتحف . وأكثر ما يحبه زوارنا هو الألواح الخشبية المطلية بدقة لمنزل من الطبقة العليا من حلب (سوريا) من أوائل القرن السابع عشر - وهي أقدم نموذج باقٍ من العالم العثماني. ومن بين المجموعات الأثرية العديدة من أعمال حفريات التنقيب الأثري الكبرى في العالم الإسلامي ، تبرز الاكتشافات من عاصمة الخلافة سامراء (العراق) في القرن التاسع. تحتوي المجموعة أيضًا على عدد كبير من السجاد العثماني والفارسي والأعمال الفنية الببليوغرافية ، بما في ذلك العديد من المنمنمات من الإمبراطورية المغولية.  \nيتم عرض المجموعة حسب ترتيبها الزمني ، مما يسمح للزائر بمتابعة المراحل الأسلوبية المختلفة للفن الإسلامي وتشكيل فكرة عن التاريخ الإسلامي المعقد ومزاياه الفنية. ونظرًا للعدد الكبير من الزوار (الذي يصل إلى 900,000 سنويًا) ، حيث لا يُعرض سوى عدد قليل من أهم الأعمال الفنية.لكن سينتقل المتحف داخل متحف بيرغامون وستتضاعف مساحة العرض ثلاث مرات (3,000 متر مربع) بحلول عام 2020. سيكتشف تخطيط المكان ومفهوم التصميم طرقًا جديدة ومبتكرة لعرض الإرث الثقافي.  \nيعد متحف الفن الإسلامي ، الذي يضم مجموعة فنية وأثرية غنية ، أحد المؤسسات البحثية الرائدة المكرسة للثقافة المادية في الشرق الأوسط والمناطق المجاورة. وترقى العديد من مشاريع البحث والحفاظ على التراث والمعارض لدينا إلى بحث استقصائي في الموروثات الحضرية في الشرقين الأدنى والأوسط. وتضم المؤسسة مجموعات مهمة من الصور الأرشيفية عن الفن الإسلامي والعمارة بالإضافة إلى مكتبة بارزة دوليًا تركز على الفن والعمارة وعلم الآثار في العالم الإسلامي.","city":"برلين","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Further Associated Museums","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum for Islamic Art at the Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"متحف الفن الإسلامي","description":"بأمر من الخديوي إسماعيل باشا Khedive Ismail Pasha في عام 1880 فإن مجموعة النوادر الأثرية من العصر الإسلامي بدأ عرضها في مسجد الحكيم Al- Hakim . وقد شكّل مجلس المحافظة على الآثار العربية The Council for the Preservation of Arab Antiquities في عام 1881 بالاشتراك مع وزارة الأوقاف Ministry of Awqaf وقد أشرف على صالة الآثار العربية House of Arab Antiquities كما كانت تعرف في ذلك الوقت وحتى عام 1930 عندما نقل المتحف لعهدة وزارة التعليم Ministry of Education.  \nوقد جمع المتحف فقط قطعه من المساجد والأبنية العامة في أول عشرن عاما من عمره. وبعدها قام بأولى حفرياته في عام 1910 بجوار دورونكا Doronka في مصر العليا Upper Egypt وحفرية ثانية جنوب القاهرة التي كشفت عن جزء من مدينة الفسطاط Fustat (أول عاصمة إسلامية لمصر).  \nوقد حصل المتحف على العديد من القطع عن طريق الهبات. وقد تبرع الملك فؤاد الأول . King Fu’ad I بمجموعة قيمة من الأقمشة والموازين والأختام كما فعل الملك فاروق King Farouk والأمير محمد علي Amir Muhammad Ali والأمير يوسف كمال Amir Yusuf Kamal والأمير كمال الدين حسين Amir Kamal al-Din Hussein ويعقوب أرتين باشا Yakub Artin Pasha وعلي إبراهيم باشا Ali Ibrahim Pasha أيضا تبرعوا بمجموعات كاملة.  \nوإن المجموعات التي بلغت 7082 قطعة والتي نقلت للبناء الحالي عندما تم تدشين المتحف الحالي في ديسمبر 1903 . وفي عام 1952 فإن اسم المتحف تغير إلى \" متحف الفن الإسلامي\" ‘Museum of Islamic Art’ ليعكس منظور المجموعة : القطع التي انتجت في العالم الإسلامي التي يعود تاريخها إلى بداية العصر الإسلامي (القرن السابع الميلادي) إلى نهاية القرن التاسع عشر.وعدد القطع المسجلة وصل الآن إلى 103,000 قطعة.  \nوتتضمن المجموعات مصابيح زجاجية مطلية بالمينا والخزف المصري ومحموعة ندرة من فلاتر أوعية المياه ذت الزخرفة المخرمة من الفخار غير المطلي المعروفة بتصاميمها من الزخرفة بالتربيط . وهناك أيضا مجموعات من المشغولات الخشبية والأقمشة والأحجار ذات النقوش بينما مجموعة السجاد تعتبر واحدة من أعظم المجموعات من هذا النوع. ومجموعات الأجهزة العلمية تظهر المدى الذي أسهمت به الحضارة الإسلامية في العديد من المحالات المختلفة . وهناك أيضا مجموعة استثنائية من الأختام ، الأوزان والمقاييس والعملات من الذهب والفضة والنحاس.  \nإن متحف الفن الإسلامي يملك واحدة من المجموعات الأكثر اتساعا وشمولا وتكمل المجموعات الفنية في العالم التي يستمر في تطويرها وتوسيع مجموعاته وتحديث أبنيته ذات 25 صالة ومنشأة وحديقة أثرية.","city":"القاهرة","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"},"f6a3053d-d710-547e-be54-96097d448f7a":{"name":"المتحف الوطني في دمشق","description":"تأسس المتحف الوطني بدمشق تحت إشراف وزارة التربية والتعليم عام 1919. وقد تم الاحتفاظ بالنواة الأصلية لمحتويات هذا المتحف في البداية في مدرسة العادلية Adiliya. وقد ازدادت المجموعة تدريجياً واكتُشِف القصر الأموي في قصر الحير الغربي في الصحراء السورية عام 1936 ودفع هذا إلى خطط عمل لمتحف أحدث وأكبر. وقد اختير بناء يقع بجوار التكية السليمانية لإنشاء متحف دمشق الوطني.  \nأضاف قصر الحير الغربي تأكيدًا جديدًا على أهمية تكريس مزيد من الاهتمام بالفترة الإسلامية وقرر مديرو الآثار دمج هذه الاكتشافات الفخمة في متحف دمشق الوطني. وبعد الكثير من العمل الشاق والخبرة الفنية ، تم تغيير الواجهة الأمامية لقصر الحير الغربي وإعادة بنائها بعناية لتكون المدخل الرئيسي للمتحف الوطني. وتم تخصيص الصالات الجانبية والطابق الثاني لأهم المكتشفات الفنية لهذا القصر الإسلامي المبكر. استغرق الانتهاء من العرض عدة سنوات وتم الاحتفال بالافتتاح الرسمي في عام 1950.  \nفي عام 1953 تم إضافة جناح مكون من ثلاثة طوابق إلى المنزل وعرض الآثار الشرقية القديمة ، والعصر الإسلامي ، والفن السوري الحديث ، والمعارض المؤقتة.  \nتضمنت إحدى الإضافات الأحدث ثلاث قاعات مزدوجة للعصر الإسلامي وقاعة محاضرات جديدة ومكتبة. وتم تأثيث قاعة المحاضرات كقاعة استقبال دمشقية من القرن التاسع عشر ، وهي تحفة من الزخرفة والتزيين القديمين في حد ذاتها. وتم افتتاح هذا التوسع في عام 1963.  \nفي عام 1974 كانت هناك إضافات أخرى ، هذه المرة مخصصة للعصر الحجري القديم. وأخيرًا ، في عام 2004 ، تم تحويل جناح المعرض المؤقت إلى مجموعة دائمة من آثار العصر الحجري الحديث.  \nيتكون متحف دمشق الوطني في الوقت الحاضر من الأقسام التالية:  \n1\\. آثار العصر الحجري القديم.  \n2\\. آثار العصر الحجري الحديث.  \n3\\. الآثار الشرقية السورية القديمة.  \n4\\. الآثار الكلاسيكية.  \n5\\. الآثار الإسلامية.  \n6\\. الفنون الحديثة.","city":"دمشق","address":"Qasr el-Heir Street  \nDamascus, Syria","phone":"+963 11 2234331","email":"sam.orient@mail.sy"}}

package/translations/partners.de.json

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+{"559ab197-7289-5af4-a295-1118bde9afce":{"name":"Museum für Islamische Kunst, Pergamon Museum","description":"**Das Museum für Islamische Kunst ist wegen Umbau- und Erweiterungsarbeiten von Oktober 2023 bis März 2027 geschlossen.**  \n  \nMit dem Geschenk der Fassade des Palastes von Mschatta durch den deutschen Kaiser an die Berliner Museen, der Stiftung von Teppichen durch Wilhelm von Bode und der Dauerleihgabe einer Sammlung islamischer Kunst durch Friedrich Sarre konnte das Museum 1904 eröffnet werden. Von da an wuchs die Sammlung durch Geschenke, Ankäufe und Ausgrabungsfunde kontinuierlich. 1932 wurden eigens geschaffene Räume für die Sammlung im Pergamonmuseum eingerichtet.  \n  \nNach dem 2. Weltkrieg, dem Verlust zahlreicher großer Teppiche und der Teilung der Bestände auf eine östliche und eine westliche Hälfte der Stadt Berlin wurde die Sammlung schließlich im Pergamonmuseum im Jahr 2000 wieder zusammengeführt.  \n  \nDas Museum gehört mit seinen Kunstwerken aus fast allen Teilen der islamischen Welt zu einer der weltweit bedeutenden Sammlungen. Sie ist vor allen Dingen besonders reich durch Kunstwerke aus größeren architektonischen Zusammenhängen. Dazu gehört die Fassade von Mschatta, zwei Gebetsnischen aus Kaschan/Iran und Konya/Türkei, der Alhambra-Kuppel aus Granada/Spanien, dem Aleppo-Zimmer aus Aleppo/Syrien und Ausgrabungsfunden. Die Sammlung weist darüber hinaus eine bedeutende Anzahl von osmanischen und persischen Teppichen auf und besitzt zudem wichtige Bestände der Buchkunst mit zahlreichen Miniaturen aus dem Moghul-Reich.  \n  \nDie Kunstwerke werden chronologisch präsentiert und erlauben dem Besucher die unterschiedlichen Kunststile der islamischen Geschichte kennenzulernen und ein Verständnis für die komplexe islamische Geschichte und ihre künstlerischen Entwicklungen zu gewinnen. Durch die zahlreichen Besucher in der Ausstellung kann nur eine geringe Anzahl von Meisterwerken der Sammlung gezeigt werden. Abgesehen von der Dauerausstellung veranstaltet das Museum Sonderausstellungen. Neben Ausstellungen zu dynastischen Themen oder zu bestimmten Fragestellungen wie den Beziehungen zur zeitgenössischen islamischen Kunst werden auch anderen Orts konzipierte Austellungen übernommen.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"State Museums Berlin, Museum of Islamic Art at the Pergamon Museum","description":"**Das Museum für Islamische Kunst ist wegen Umbau- und Erweiterungsarbeiten von Oktober 2023 bis März 2027 geschlossen.**  \n  \nMit dem Geschenk der Fassade des Palastes von Mschatta durch den deutschen Kaiser an die Berliner Museen, der Stiftung von Teppichen durch Wilhelm von Bode und der Dauerleihgabe einer Sammlung islamischer Kunst durch Friedrich Sarre konnte das Museum 1904 eröffnet werden. Von da an wuchs die Sammlung durch Geschenke, Ankäufe und Ausgrabungsfunde kontinuierlich. 1932 wurden eigens geschaffene Räume für die Sammlung im Pergamonmuseum eingerichtet.  \n  \nNach dem 2. Weltkrieg, dem Verlust zahlreicher großer Teppiche und der Teilung der Bestände auf eine östliche und eine westliche Hälfte der Stadt Berlin wurde die Sammlung schließlich im Pergamonmuseum im Jahr 2000 wieder zusammengeführt.  \n  \nDas Museum gehört mit seinen Kunstwerken aus fast allen Teilen der islamischen Welt zu einer der weltweit bedeutenden Sammlungen. Sie ist vor allen Dingen besonders reich durch Kunstwerke aus größeren architektonischen Zusammenhängen. Dazu gehört die Fassade von Mschatta, zwei Gebetsnischen aus Kaschan/Iran und Konya/Türkei, der Alhambra-Kuppel aus Granada/Spanien, dem Aleppo-Zimmer aus Aleppo/Syrien und Ausgrabungsfunden. Die Sammlung weist darüber hinaus eine bedeutende Anzahl von osmanischen und persischen Teppichen auf und besitzt zudem wichtige Bestände der Buchkunst mit zahlreichen Miniaturen aus dem Moghul-Reich.  \n  \nDie Kunstwerke werden chronologisch präsentiert und erlauben dem Besucher die unterschiedlichen Kunststile der islamischen Geschichte kennenzulernen und ein Verständnis für die komplexe islamische Geschichte und ihre künstlerischen Entwicklungen zu gewinnen. Durch die zahlreichen Besucher in der Ausstellung kann nur eine geringe Anzahl von Meisterwerken der Sammlung gezeigt werden. Abgesehen von der Dauerausstellung veranstaltet das Museum Sonderausstellungen. Neben Ausstellungen zu dynastischen Themen oder zu bestimmten Fragestellungen wie den Beziehungen zur zeitgenössischen islamischen Kunst werden auch anderen Orts konzipierte Austellungen übernommen.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/partners.en.json

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+{"33f89573-8b54-5c1a-86ba-1663e604740f":{"name":"Jordan Archaeological Museum","description":"The museum was founded in 1951 by the Department of Antiquities of Jordan on the Citadel of Amman on a hill called Jabal al-Qal’a. The building has a total measurement of 525 m2 on two floors. The ground floor is used for storage, and the first floor comprises the display area, which consists of three exhibition halls, and administrative offices.  \n  \nThe museum holds many artefacts found in various archaeological sites in Jordan representing the path of civilization in this area throughout its long history. The extensive collection is arranged chronologically by historical periods, from the Stone Ages to the Islamic periods.  \n  \nThe Islamic art collection is displayed in an exhibition hall in eleven showcases that consist of: pottery vessels from the Umayyad period to the Mamluk period; glazed vessels from the Mamluk period to the Ottoman period; steatite vessels from the Umayyad period; coins of all types and periods; metalwork and pottery vessels from the Umayyad to Mamluk periods; iron shields and swords from the Mamluk period; carved stones from the Umayyad period; four plaster replicas of architectural elements from Khirbat al-Mafjar Palace in Jericho (windows, lintel and a dome from the bath).  \n  \nLack of space prohibits the display of temporary exhibitions; however, the museum participates in many local and international exhibitions held in Jordan and abroad to show the history and archaeology of Jordan throughout the ages.  \n  \nThree curators sharing the responsibility of looking after the whole collection of the museum.","city":"Amman","address":"Citadel of Amman  \nP.O. Box 88  \nAmman, Jordan","phone":"+962 6 463 8795"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"Museum of Islamic Art at the Pergamon Museum, State Museums","description":"**The Museum of Islamic Art is closed from October 2023 to March 2027 due to renovation and expansion works.**  \n  \nThe Museum of Islamic Art at the Pergamon Museum Berlin is the only institution of its kind in Germany, the oldest in the West and with its c. 93,000 pieces it houses one of the world’s finest collections of Islamic art from nearly all regions of Islamic rule.  \n  \nIts collections are especially rich in objects from an architectural context including the monumental façade of the caliphal palace of Mshatta (Jordan), dating from the mid-8th century. It is the largest artefact of Islamic Art in any museum worldwide. The unique dome from the Alhambra Palace in Granada (Spain) and 13th-century prayer niches from Kashan (Iran) and Konya (Turkey) are among the highlights. Most loved by our visitors is the finely painted wooden panelling of an upper-class house from Aleppo (Syria) from the early 17th century – it is the oldest surviving exemplar from the Ottoman World. Among the several archaeological groups from major excavations in the Islamic world the finds from the 9th-century caliphal capital of Samarra (Iraq) stand out. The collection also has a large number of important Ottoman and Persian carpets and bibliographical works of art, including numerous miniatures from the Mughal Empire.  \n  \nThe collection is displayed chronologically, allowing the visitor to follow the different stylistic phases of Islamic art and to develop a notion of the complex Islamic history and its artistic merits. Because of the large number of visitors (up to 900,000 yearly), only a small number of the most important works of art are on display. The museum will move inside Pergamon-Museum and will triple its exhibition space (3,000sq.m) by 2020. The layout and concept will discover new and innovative ways to present the cultural legacy.  \n  \nWith its rich art and archaeological collection, the Museum of Islamic Art is one of the leading research institutions dedicated to the material culture of the Middle East and neighbouring regions. Our many research, conservation and exhibition projects amount to a probing investigation of the urban legacies of the Near and Middle East. The institution houses important collections of archival photographs on Islamic art and architecture as well as an internationally outstanding library focused on art, architecture and archaeology in the world of Islam.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Further Associated Museums","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum of Islamic Art at the Pergamon Museum, State Museums","description":"**The Museum of Islamic Art is closed from October 2023 to March 2027 due to renovation and expansion works.**  \n  \nThe Museum of Islamic Art at the Pergamon Museum Berlin is the only institution of its kind in Germany, the oldest in the West and with its c. 93,000 pieces it houses one of the world’s finest collections of Islamic art from nearly all regions of Islamic rule.  \n  \nIts collections are especially rich in objects from an architectural context including the monumental façade of the caliphal palace of Mshatta (Jordan), dating from the mid-8th century. It is the largest artefact of Islamic Art in any museum worldwide. The unique dome from the Alhambra Palace in Granada (Spain) and 13th-century prayer niches from Kashan (Iran) and Konya (Turkey) are among the highlights. Most loved by our visitors is the finely painted wooden panelling of an upper-class house from Aleppo (Syria) from the early 17th century – it is the oldest surviving exemplar from the Ottoman World. Among the several archaeological groups from major excavations in the Islamic world the finds from the 9th-century caliphal capital of Samarra (Iraq) stand out. The collection also has a large number of important Ottoman and Persian carpets and bibliographical works of art, including numerous miniatures from the Mughal Empire.  \n  \nThe collection is displayed chronologically, allowing the visitor to follow the different stylistic phases of Islamic art and to develop a notion of the complex Islamic history and its artistic merits. Because of the large number of visitors (up to 900,000 yearly), only a small number of the most important works of art are on display. The museum will move inside Pergamon-Museum and will triple its exhibition space (3,000sq.m) by 2020. The layout and concept will discover new and innovative ways to present the cultural legacy.  \n  \nWith its rich art and archaeological collection, the Museum of Islamic Art is one of the leading research institutions dedicated to the material culture of the Middle East and neighbouring regions. Our many research, conservation and exhibition projects amount to a probing investigation of the urban legacies of the Near and Middle East. The institution houses important collections of archival photographs on Islamic art and architecture as well as an internationally outstanding library focused on art, architecture and archaeology in the world of Islam.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"a3753de5-842a-5f0b-a8c7-50bb2e312ce6":{"name":"Kunsthistorisches Museum","description":"The Kunsthistorisches Museum (KHM) in Vienna is one of the foremost museums in the world, with rich holdings comprising artworks from seven millennia – from Ancient Egypt to the late 18th century. The collections of Renaissance and Baroque art are of particular importance.  \n  \nThe KHM’s extensive holdings are on show at different locations: the main building on Ringstrasse houses the Picture Gallery, the Collection of Greek and Roman Antiquities, the Egyptian and Near Eastern Collection, the Coin Collection and the Kunstkammer.  \n  \nOther collections are housed in the Neue Burg (the Collection of Historical Musical Instruments, the Collection of Arms and Armour, and the Ephesus Museum), in Hofburg Palace (the Treasury) and in Schönbrunn Palace (the Collection of Historical Carriages).  \n  \nThe collections on show at Ambras Palace are also part of the holdings of the KHM.  \n  \nSince January 2001, the Museum of Ethnology on Heldenplatz and the Austrian Theatre Museum on Lobkowitz Square have been incorporated into the KHM.","city":"Vienna","address":"Burgring, 5  \n1010 Wien  \nAustria","website":"http://www.khm.at/","phone":"+43 1 525 24-0","email":"info@khm.at"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"The British Museum","description":"The British Museum was established by Act of Parliament in 1753, the first national public museum in the world. From the beginning it granted free admission to all “studious and curious persons”. The founding collection was that of Sir Hans Sloane, a wealthy physician and collector. The original British Museum comprised three departments: Printed Books; Manuscripts (including coins); and Natural and Artificial Productions, which included everything from sculpture to mineral samples and zoological specimens. In January 1759 the British Museum opened its doors to the public.  \n  \nAs a product of the Enlightenment, the museum's job was to be a storehouse of knowledge for the use and benefit of the public, advancing all fields of scholarship. The museum therefore aimed to collect all kinds of material; it remains one of the few places in the world in which it is possible to see the world under one roof. During the 19th century the museum acquired representative collections of Greek, Roman, Egyptian and Assyrian antiquities, as well as material from across the Islamic world.  \n  \nThe museum itself had to grow to offer space to display the growing collections. Between 1823 and 1847 the original building was replaced by four large wings built around a central courtyard. In 1854 construction began on the iconic Round Reading Room in the central courtyard. The natural history collections were given their own home in the new Museum of Natural History in 1881. By 1973 the British Library and British Museum were administratively separated, and in 1999 the new British Library building opened at St Pancras. The British Museum site was expanded and modernised. In 2000 the Great Court opened, envisioned as a sunny piazza at the centre of the building, with up-to-date facilities such as lecture theatres, an education centre and facilities for school children, as well as restaurants and shops. In 2014 the World Conservation and Exhibitions Centre opened to the public, offering state-of-the-art facilities to care for, manage, research and display the collections.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"cc176d16-7f00-5907-8a82-b1f3d06b7d4d":{"name":"Further Associated Museums","description":"**Zagreb**  \nCity Museum  \nCroatian History Museum  \nDiocese Museum of the Zagreb Archdiocese  \nMetropolitan Library, Valvasor Collection of prints and drawings  \nStrossmayer Gallery of Old Masters  \nZagreb Cathedral Treasury  \n  \n**Dubrovnik**  \nDubrovnik Cultural History Museum  \nMuseum of Icons of the Serbian Orthodox Church Community  \n  \n**Ilok**  \nCity Museum  \n  \n**Klanjec**  \nFranciscan Monastery  \n  \n**Osijek**  \nGallery of Fine Arts  \n  \n**Požega**  \nDiocese Museum of the Požega Diocese  \n  \n**Trakošćan**  \nTrakošćan Castle  \n  \n**Varaždin**  \nCity Museum"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Museum of Islamic Art","description":"At the order of Khedive Ismail Pasha in 1880 the collection of archaeological rarities from the Islamic era was begun in the mosque of Al- Hakim. The Council for the Preservation of Arab Antiquities, created in 1881 in association with the Ministry of Awqaf, supervised the House of Arab Antiquities, as it was then known, until 1930 when the museum was taken into the Ministry of Education.  \n  \nThe museum acquired only from mosques and public buildings in its first 20 years. Then it undertook its first excavation in 1910 in the vicinity of Doronka in Upper Egypt and a second excavation south of Cairo uncovering a section of the city of Fustat (first Islamic capital of Egypt).  \n  \nThe museum acquired many items through donations. King Fu’ad I gave a valuable collection of textiles, scales and seals as did King Farouk, Amir Muhammad Ali and Amir Yusuf Kamal. Amir Kamal al-Din Hussein, Yakub Artin Pasha and Ali Ibrahim Pasha also donated complete collections.  \n  \nThe collections, amounting to 7082 artefacts, were transferred to their current building, when the present museum was inaugurated in December 1903. In 1952, the name of the museum was changed to the ‘Museum of Islamic Art’ to reflect the scope of the collection: objects produced in the Islamic world and dating from the beginning of the Islamic era (AD 7th century) to the end of the AD 19th century. The number of recorded objects has now reached 103,000.  \n  \nThe collections include enamelled glass lamps, Egyptian ceramics and a rare collection of filigree waterpot filters of unpainted earthenware renowned for their lacework designs. There are also collections of woodwork, textiles and stones with inscriptions, while the collection of carpets is considered to be one of the greatest of its kind. Collections of scientific instruments display the extent to which Islamic civilisation has contributed to knowledge in many different fields. There is also an extraordinary collection of seals, weights, measures, gold, silver and copper coins.  \n  \nThe Museum of Islamic Art, having one of the most comprehensive and complete Islamic art collections in the world continues to develop and expand its collections and to modernise the building with its 25 halls, facilities and archaeological garden.","city":"Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"},"f6a3053d-d710-547e-be54-96097d448f7a":{"name":"National Museum of Damascus","description":"The National Museum in Damascus was established under the supervision of the Ministry of Education in 1919. The original core of this museum's contents was initially kept at the Madrasa al-'Adiliya. The collection gradually increased and the discovery of the Umayyad palace of Qasr al-Hayr al-Gharbi in the Syrian desert in 1936 further spurred into action plans for a newer and bigger museum. A building located next to Al-Takiyya al-Sulaymaniya was chosen for the establishment of the National Museum of Damascus.  \n  \nQasr Al-Hayr Al-Gharbi added new emphasis to the importance of devoting more attention to the Islamic period and the Directors of Antiquities decided to incorporate these palatial finds into the National Museum of Damascus. After much hard work and technical expertise, the front façade of the Qasr al-Hayr al-Gharbi was transposed and carefully reconstructed as the National Museum's main entrance. The side halls and the second floor were designated for the most important artistic finds of this early Islamic palace. The completion of the display took several years and the official opening was celebrated in 1950.  \n  \nIn 1953 a three-storey wing was added to house and display ancient oriental antiquities, the Islamic period, modern Syrian art, and temporary exhibitions.  \n  \nOne of the more recent extensions included three double halls for the Islamic period, a new lecture hall and a library. The lecture hall was furnished as a 19th-century Damascene reception hall, a masterpiece of late decoration and ornamentation in its own right. The opening of this extension took place in 1963.  \n  \nIn 1974 there were further additions, this time devoted to the Palaeolithic period. And lastly, in 2004, the temporary exhibition wing was transformed into a permanent collection of Neolithic antiquities.  \n  \nAt present, the National Museum of Damascus consists of the following sections:  \n  \n1\\. Palaeolithic.  \n2\\. Neolithic.  \n3\\. Ancient Syrian Oriental.  \n4\\. Classical.  \n5\\. Islamic.  \n6\\. Modern Arts.","city":"Damascus","address":"Qasr el-Heir Street  \nDamascus, Syria","phone":"+963 11 2234331","email":"sam.orient@mail.sy"},"fae81dae-0250-52ec-acc1-171da28b9eef":{"name":"Borghese Gallery","description":"The Casino Borghese ­– today the Borghese Museum and Gallery – was commissioned from Flaminio Ponzio by Pope Paolo V's nephew, Cardinal Scipione Caffarelli Borghese, who wanted a suburban villa to house his art collections. It was completed after Ponzio's death by Giovanni Vasanzio in 1613–15.  \n  \nCasino Borghese lies inside a great park and the garden is divided into three precincts divided by a series of spaces and buildings: the Casino, three Secret Gardens, the Aviary, the Meridiana Pavilion.  \n  \nCardinal Borghese's antique collection was augmented by archaeological excavations on the family property and by acquisitions such as the collections of Ceoli and Tommaso e Giovan Battista Della Porta.  \n  \nThe cardinal was uninterested in medieval art, but was very interested in renaissance and contemporary art. He used his powerful position to increase his collection by any means, including confiscation. He imprisoned Domenichino to obtain his *La Caccia di* *Diana* and ordered the secret removal to Rome of Raphael's *Deposition* from the Baglioni Chapel in Perugia.  \n  \nScipione commissioned works from the most important contemporary artists: Bernini, Caravaggio, Guido Reni, Guercino, Lanfranco, Domenichino, Algardi, Cavalier d'Arpino, Rubens, Lavinia Fontana, Nicolas Cordier and Antonio Susini. He also bought many paintings from the Ferrara School. With Scipione the renaissance concept of the aristocratic patron was transformed into the 'modern' collector.  \n  \nAfter the marriage of Paolo Borghese and Olimpia Aldobrandini (1682) part of the Aldobrandini inheritance was incorporated in the Borghese collection.  \n  \nBetween 1770 and 1793 Marcantonio IV Borghese renewed the villa in neoclassical style. His son Camillo married Pauline Bonaparte and was persuaded by his brother-in-law, Napoleon, to 'sell' him (1807) a considerable part of the archaeological collection, which now is in the Louvre; fortunately Camillo also bought many works such as Correggio's *Danae* (1827) and Guercino's *Prodigal Son* and commissioned from Canova (1805–8) a sculpture of Pauline as *Venus Victrix*, a neoclassical masterpiece. Gaps caused by the 'sale' were filled with new finds from recent excavations and works from various Borghese residences.  \n  \nIn 1902 the Casino Borghese and its collection were acquired by Italian Government.  \n  \nAmong the great pieces in the collection are: Titian's *Sacred and Profane Love*; marble sculptures by Bernini including *Apollo and Daphne*, *Pluto and Proserpina*, *David*, *Aeneas and Anchises*; paintings by Caravaggio including *Boy with a Basket of Fruit*, *Madonna of the Palafrenieri* and *David with the Head of Goliath*; and many works by Raphael, Rubens, Pinturicchio, Perugino, Titian, Domenichino, Carracci and many others.","city":"Rome","address":"Piazzale Scipione Borghese, 5  \nI - 00197 Rome","website":"http://galleriaborghese.beniculturali.it/it","phone":"+39 06 8413979"}}

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+{"33f89573-8b54-5c1a-86ba-1663e604740f":{"name":"Museo Arqueológico de Jordania","description":"El museo fue fundado en 1951 por el Departamento de Antigüedades de Jordania en la Ciudadela de Ammán en una colina llamada Jabal al-Qal’a. El edificio tiene una medida total de 525 m2 en dos plantas. La planta baja se utiliza para almacenamiento y el primer piso comprende el área de exposición, que consta de tres salas y oficinas administrativas.  \n  \nEl museo contiene muchos artefactos encontrados en varios sitios arqueológicos de Jordania que representan el camino de la civilización en esta área a lo largo de su larga historia. La extensa colección está ordenada cronológicamente por períodos históricos, desde la Edad de Piedra hasta los períodos islámicos.  \n  \nLa colección de arte islámico se exhibe en una sala de exposiciones en once vitrinas que consisten en: vasijas de cerámica desde el período omeya hasta el período mameluco; vasijas vidriadas desde el período mameluco hasta el período otomano; vasijas de esteatita del período omeya; monedas de todo tipo y época; vasijas de orfebrería y cerámica desde los períodos omeya hasta mameluco; escudos y espadas de hierro del período mameluco; piedras talladas del período omeya; cuatro réplicas de yeso de elementos arquitectónicos del Palacio Khirbat al-Mafjar en Jericó (ventanas, dintel y una cúpula del baño).  \n  \nLa falta de espacio no permite exposiciones temporales; sin embargo, el museo participa en muchas exposiciones nacionales e internacionales para difundir el conocimiento de la historia y de la arqueología de Jordania a lo largo de los siglos.  \n  \nTres conservadores comparten la responsabilidad de toda la colección del museo.","city":"Amman","address":"Citadel of Amman  \nP.O. Box 88  \nAmman, Jordan","phone":"+962 6 463 8795"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"Museo de Arte Islámico en el Museo de Pérgamo, Museos Estatales","description":"**El Museo de Arte Islámico está cerrado desde octubre de 2023 hasta marzo de 2027 debido a obras de renovación y ampliación.**  \n  \nEl Museo de Arte Islámico en el Museo de Pérgamo de Berlín es la única institución de este tipo en Alemania, la más antigua de Occidente y con sus 93.000 piezas alberga una de las mejores colecciones de arte islámico del mundo proveniente de casi todas las regiones del dominio islámico.  \n  \nSus colecciones son especialmente ricas en objetos procedentes de conjuntos arquitectónicos como la fachada monumental del palacio califal de Mshatta (Jordania), que data de mediados del siglo VIII. Es el artefacto más grande de arte islámico en cualquier museo del mundo. La singular cúpula del palacio de la Alhambra en Granada (España) y los nichos de oración del siglo XIII de Kashan (Irán) y Konya (Turquía) se encuentran entre las obras más destacadas. La obra que más atrae a nuestros visitantes es el revestimiento de madera finamente pintado de una casa de clase alta de Alepo (Siria) de principios del siglo XVII. Es el ejemplar más antiguo del mundo otomano que se conserva. Entre los varios grupos arqueológicos de excavaciones en el mundo islámico, se destacan los hallazgos de la capital califal del siglo IX, Samarra (Irak). La colección también tiene una gran cantidad de importantes alfombras otomanas y persas y obras de arte bibliográficas, incluidas numerosas miniaturas del Imperio mogol.  \n  \nLa colección se exhibe en orden cronológico, lo cual permite al visitante seguir las diferentes fases estilísticas del arte islámico y desarrollar una noción de la compleja historia islámica y sus méritos artísticos. Debido al gran número de visitantes (hasta 900.000 al año), solo se exhibe una pequeña cantidad de las obras de arte más importantes. El museo se trasladará dentro del Museo de Pérgamo y triplicará su espacio de exposición (3.000 metros cuadrados) para 2020. El diseño y el concepto descubrirán formas nuevas e innovadoras de presentar el legado cultural.  \n  \nCon su rica colección de arte y arqueología, el Museo de Arte Islámico es una de las principales instituciones de investigación dedicadas a la cultura material del Medio Oriente y las regiones vecinas. Nuestros numerosos proyectos de investigación, conservación y exhibición equivalen a una investigación profunda de los legados urbanos del Cercano y Medio Oriente. La institución alberga importantes colecciones de fotografías de archivo sobre el arte y la arquitectura islámicos, así como una biblioteca de renombre internacional centrada en el arte, la arquitectura y la arqueología en el mundo del Islam.","city":"Berlín","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Otros museos asociados","description":"Parque Arqueológico de Madaba  \nHisban, Jordania  \n  \nMisión Arqueológica Española  \nAmmán, Jordania"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museum for Islamic Art at the Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"a3753de5-842a-5f0b-a8c7-50bb2e312ce6":{"name":"Kunsthistorisches Museum","city":"Vienna","address":"Burgring, 5  \n1010 Wien  \nAustria","website":"http://www.khm.at/","phone":"+43 1 525 24-0","email":"info@khm.at"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Museo de Arte Islámico","description":"Por orden del jedive Ismail Pasha en 1880, la colección de rarezas arqueológicas de la era islámica se inició en la mezquita de Al-Hakim. El Municipio para la Conservación de Antigüedades Árabes—creado en 1881 en asociación con el Ministerio de Awqaf—supervisó la Casa de Antigüedades Árabes, como se la conocía entonces, hasta 1930, cuando el museo pasó a manos del Ministerio de Educación.  \n  \nEl museo solo adquirió artículos de mezquitas y edificios públicos en sus primeros veinte años. Luego emprendió su primera excavación en 1910 en las cercanías de Doronka en el Alto Egipto y una segunda excavación al sur de El Cairo descubriendo una sección de la ciudad de Fustat (la primera capital islámica de Egipto).  \n  \nEl museo adquirió muchos artículos a través de donaciones. El rey Fu'ad I regaló una valiosa colección de textiles, escamas y sellos, al igual que el rey Faruq, Amir Muhammad Ali y Amir Yusuf Kamal. Amir Kamal al-Din Hussein, Yakub Artin Pasha y Ali Ibrahim Pasha también donaron colecciones completas.  \n  \nLas colecciones, que ascienden a 7.082 artefactos, se transfirieron a su edificio actual cuando el museo existente se inauguró en diciembre de 1903. En 1952, el nombre del museo se cambió a \"Museo de Arte Islámico\" para reflejar el alcance de la colección: objetos producidos en el mundo islámico que datan del comienzo de la era islámica (siglo VII d.C.) hasta finales del siglo XIX d.C. El número de objetos registrados ha llegado a 103.000.  \n  \nLas colecciones incluyen lámparas de vidrio esmaltado, cerámica egipcia y una rara colección de filtros de agua de filigrana de loza sin pintar reconocida por sus diseños de encaje. También hay colecciones de artesanía en madera, textiles y piedras con inscripciones, mientras que la colección de alfombras está considerada como una de las más grandes de su clase. Las colecciones de instrumentos científicos muestran hasta qué punto la civilización islámica ha contribuido al conocimiento en muchos campos diferentes. También hay una colección extraordinaria de sellos, pesas, metros, monedas de oro, plata y cobre.  \n  \nEl Museo de Arte Islámico, que tiene una de las colecciones de arte islámico más extensas y completas del mundo, continúa desarrollando y ampliando sus colecciones y modernizando el edificio con sus veinticinco salas, instalaciones y jardín arqueológico.","city":"El Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"},"f6a3053d-d710-547e-be54-96097d448f7a":{"name":"Museo Nacional de Damasco","description":"El Museo Nacional de Damasco se estableció bajo la supervisión del Ministerio de Educación en 1919. El núcleo original del contenido de este museo se mantuvo inicialmente en la Madrasa al-'Adiliya. La colección aumentó gradualmente y el descubrimiento del palacio Omeya de Qasr al-Hayr al-Gharbi en el desierto sirio en 1936 impulsó aún más los planes de acción para un museo más nuevo y más grande. Se eligió un edificio ubicado junto a Al-Takiyya al-Sulaymaniya para el establecimiento del Museo Nacional de Damasco.  \n  \nQasr Al-Hayr Al-Gharbi agregó un nuevo énfasis a la importancia de dedicar más atención al período Islámico y los directores de antigüedades decidieron incorporar estos hallazgos palaciegos en el Museo Nacional de Damasco. Después de mucho trabajo y experiencia técnica, la fachada frontal de Qasr al-Hayr al-Gharbi se traspuso y reconstruyó cuidadosamente como la entrada principal del Museo Nacional. Los pasillos laterales y el segundo piso fueron designados para los hallazgos artísticos más importantes de este antiguo palacio Islámico. La finalización de la exhibición tomó varios años y la inauguración oficial se celebró en 1950.  \n  \nEn 1953 se añadió un ala de tres pisos para albergar y exhibir antiguas antigüedades orientales, el período islámico, el arte sirio moderno y exposiciones temporales.  \n  \nUna de las ampliaciones más recientes incluyó tres salas dobles para el período islámico, una nueva sala de conferencias y una biblioteca. La sala de conferencias fue amueblada como una sala de recepción damasquinada del siglo XIX, una obra maestra de la decoración y ornamentación tardía por derecho propio. La apertura de esta ampliación tuvo lugar en 1963.  \n  \nEn 1974 hubo más adiciones, esta vez dedicada al período Paleolítico. Y por último, en 2004, el ala de exposiciones temporales se transformó en una colección permanente de antigüedades neolíticas.  \n  \nEn la actualidad, el Museo Nacional de Damasco consta de las siguientes secciones:  \n  \n1\\. Paleolítico.  \n2\\. Neolítico.  \n3\\. Oriental Sirio Antiguo.  \n4\\. Clásico.  \n5\\. Islámico.  \n6\\. Artes Modernas.","city":"Damasco","address":"Qasr el-Heir Street  \nDamascus, Syria","phone":"+963 11 2234331","email":"sam.orient@mail.sy"}}

package/translations/partners.fr.json

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+{"33f89573-8b54-5c1a-86ba-1663e604740f":{"name":"Musée archéologique de Jordanie","description":"Le musée a été fondé en 1951 par le Département des antiquités de Jordanie dans la Citadelle d’Amman sur une colline appelée Jabal al-Qal’a. L’édifice occupe une superficie de 525 m2 sur deux niveaux. Le rez-de-chaussée est utilisé pour les réserves, au premier étage sont distribuées les trois salles de la zone d’exposition et les bureaux de l’administration.  \n  \nLe musée possède de nombreux artefacts mis au jour dans différents sites archéologiques de Jordanie et qui sont représentatifs de la progression des civilisations dans la région tout au long de son histoire. Toute la collection est présentée chronologiquement, par périodes historiques qui vont depuis d’âge de pierre jusqu’à la période islamique.  \n  \nLa collection d’art islamique est présentée dans une salle d’exposition organisée en onze vitrines réparties comme suit: poteries de la période omeyyade; vaisselles vernissées de la période mamelouke à la période ottomane; vaisselles en stéatite de la période omeyyade; monnaies de tous types et de toutes périodes; ouvrages de métal et poteries de la période omeyyade jusqu’à la période mamelouke; boucliers et épées en fer de la période mamelouke; pierres sculptées de la période omeyyade; quatre répliques en plâtre d’éléments architecturaux du palais de Khirbat al-Mafjar à Jéricho (fenêtres, linteau et une coupole du hammam).  \n  \nLe manque de place empêche d’organiser des expositions temporaires; toutefois, le musée participe à de nombreuses expositions locales et internationales mises sur pied en Jordanie et à l’étranger pour illustrer l’histoire et l’archéologie de la Jordanie à travers les âges.  \n  \nTrois conservateurs se partagent la responsabilité de veiller à l’entière collection du musée.","city":"Amman","address":"Citadel of Amman  \nP.O. Box 88  \nAmman, Jordan","phone":"+962 6 463 8795"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"Musée d’art islamique du Pergamon Museum (Museum für Islamische Kunst)","description":"**Le Musée d'Art Islamique est fermé d'octobre 2023 à mars 2027 en raison de travaux de rénovation et d'agrandissement.**  \n  \nAvec la présentation de la monumentale façade du palais omeyyade de Mchatta par l’empereur germanique aux musées de Berlin, la collection de tapis offerte par Wilhem von Bode et un prêt à long-terme de la collection d’art islamique de Friedrich Sarre, la collection d’art islamique fut installée dans l’un des bâtiments des Musées royaux (plus tard musées d’État) de Berlin en 1904. Depuis, la collection n’a cessé de s’accroître à travers des dons, acquisitions et produits de fouilles. En 1932 le musée acquérait les galeries nouvellement créées au Pergamon Museum.  \n  \nAprès la Seconde Guerre mondiale, la perte de bon nombre des grands tapis et la dispersion de beaucoup de pièces tant à Berlin-Est qu’à Berlin-Ouest, la collection fut finalement réunie dans de nouvelles galeries à l’intérieur du Pergamon Museum en 2000.  \n  \nLe musée abrite aujourd’hui l’une des plus prestigieuses collections d’art islamique du monde, en provenance de presque toutes les régions d’obédience islamique. Ses collections sont tout spécialement riches en objets issus d’un contexte architectural, dont la façade de Mchatta, deux grandes niches de prière provenant de Kachan, Iran, et de Konya, Turquie, une coupole de l’Alhambra de Grenade, Espagne, une chambre d’une maison d’Alep, Syrie, et des trouvailles venant des principales fouilles entreprises dans le monde islamique. La collection est également riche en tapis persans et ottomans de première importance, et en chefs-d’œuvre bibliophiliques, parmi lesquels des miniatures de l’empire moghol.  \n  \nLa collection est exposée suivant un ordre chronologique, ce qui permet au visiteur de suivre les différentes phases stylistiques de l’art islamique dans les galeries et de se faire une idée de la complexité de l’histoire islamique et de ses expressions artistiques. Étant donné le grand nombre de visiteurs, seules quelques-unes des œuvres d’art les plus importantes sont exposées. En dehors des galeries permanentes, le musée organise des manifestations temporaires présentant des expositions dynastiques, des thèmes d’intérêt spécifique tels que les relations avec l’art islamique contemporain ou des expositions développées ailleurs.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Autres musées associés","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Musée d’art islamique du Pergamon Museum (Museum für Islamische Kunst)","description":"**Le Musée d'Art Islamique est fermé d'octobre 2023 à mars 2027 en raison de travaux de rénovation et d'agrandissement.**  \n  \nAvec la présentation de la monumentale façade du palais omeyyade de Mchatta par l’empereur germanique aux musées de Berlin, la collection de tapis offerte par Wilhem von Bode et un prêt à long-terme de la collection d’art islamique de Friedrich Sarre, la collection d’art islamique fut installée dans l’un des bâtiments des Musées royaux (plus tard musées d’État) de Berlin en 1904. Depuis, la collection n’a cessé de s’accroître à travers des dons, acquisitions et produits de fouilles. En 1932 le musée acquérait les galeries nouvellement créées au Pergamon Museum.  \n  \nAprès la Seconde Guerre mondiale, la perte de bon nombre des grands tapis et la dispersion de beaucoup de pièces tant à Berlin-Est qu’à Berlin-Ouest, la collection fut finalement réunie dans de nouvelles galeries à l’intérieur du Pergamon Museum en 2000.  \n  \nLe musée abrite aujourd’hui l’une des plus prestigieuses collections d’art islamique du monde, en provenance de presque toutes les régions d’obédience islamique. Ses collections sont tout spécialement riches en objets issus d’un contexte architectural, dont la façade de Mchatta, deux grandes niches de prière provenant de Kachan, Iran, et de Konya, Turquie, une coupole de l’Alhambra de Grenade, Espagne, une chambre d’une maison d’Alep, Syrie, et des trouvailles venant des principales fouilles entreprises dans le monde islamique. La collection est également riche en tapis persans et ottomans de première importance, et en chefs-d’œuvre bibliophiliques, parmi lesquels des miniatures de l’empire moghol.  \n  \nLa collection est exposée suivant un ordre chronologique, ce qui permet au visiteur de suivre les différentes phases stylistiques de l’art islamique dans les galeries et de se faire une idée de la complexité de l’histoire islamique et de ses expressions artistiques. Étant donné le grand nombre de visiteurs, seules quelques-unes des œuvres d’art les plus importantes sont exposées. En dehors des galeries permanentes, le musée organise des manifestations temporaires présentant des expositions dynastiques, des thèmes d’intérêt spécifique tels que les relations avec l’art islamique contemporain ou des expositions développées ailleurs.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","description":"Fondé en 1753 par Acte du Parlement, le British Museum s’installait dès l’année suivante à Montagu House, une résidence aristocratique sur le site de l’actuel musée à Bloomsbury, Londres. La collection fondatrice fut cédée à la nation britannique par Sir Hans Sloane, un riche physicien et collectionneur, mort en 1753, contre paiement de 20 000 livres à ses deux filles. Outre la collection d’objets de Sloane et sa bibliothèque, le premier British Museum possédait quatre autres importantes collections de livres. C’est d’ailleurs à un bibliothécaire en chef qu’était confiée la direction des trois départements du musée: Livres imprimés (y compris la presse); Manuscrits (de même que monnaies et dessins) ; Productions naturelles et Productions artificielles, qui rassemblaient toutes sortes de pièces, de la sculpture aux échantillons minéraux, des momies aux spécimens zoologiques. En janvier 1759, le British Museum ouvrait ses portes au public.  \n  \nDans la mesure où l’Acte de 1753 incarnait les idées universalistes des Lumières, pour qui tous les arts et toutes les sciences formaient un seul et même vaste réseau de corrélations, la tâche du Musée était de faire progresser tous les champs du savoir pour les chercheurs et les “esprits curieux” – et pour le meilleur profit du grand public. En tant que dépositaire du savoir, le British Museum avait vocation à tout collectionner. Une telle position impliquait inévitablement un développement constant et la nécessité de bâtiments plus grands dans lesquels stocker des collections de plus en plus volumineuses. Entre 1823 et 1847, le bâtiment d’origine fut remplacé par quatre grandes ailes construites autour d’une cour centrale. La bibliothèque continua à s’accroître à un tel rythme qu’une nouvelle salle de lecture s’imposait. Les travaux commencèrent en 1854 par la construction, dans la cour centrale, de la nouvelle Salle de lecture ronde à coupole.  \n  \nDans les années 1860, le besoin d’un nouveau bâtiment capable d’héberger les collections d’histoire naturelle en plein développement était reconnu, et en 1881 le nouveau Muséum d’histoire naturelle ouvrait au public. En 1973, la British Library et le British Museum étaient séparés administrativement, et dans les années 1990, les travaux d’un nouvel édifice pour la bibliothèque furent entrepris. La nouvelle British Library ouvrit en 1999, laissant au British Museum l’opportunité de s’agrandir et de se moderniser. En 2000, le British Museum ouvrait la Great Court, conçue comme une piazza ensoleillée au centre du bâtiment, mais dotée d’équipements modernes tels que des salles de conférence, des restaurants, une cafétéria pour les scolaires et des boutiques.  \n  \nLa collection initiale du musée, qui comptait quelques objets islamiques, s’enrichit considérablement au cours des XIXe et XXe siècles par des achats, des dons et des legs. Avec le Victoria and Albert Museum, le British Museum abrite la plus importante collection de céramiques d’Iznik au monde. Les objets médiévaux en métal incrusté, les collections archéologiques, les œuvres sur papier et sur verre émaillé constituent d’autres ensembles de grande valeur. La collection, avec les pièces archéologiques, compte environ 40 000 objets.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Musée d’art islamique","description":"C’est le khédive Ismaïl Pacha qui initia à la mosquée al-Hakim la collection de curiosités d’époque islamique. Et c’est le Conseil pour la préservation des antiquités arabes, créé en 1881 en association avec le ministère des Fondations pieuses (Awqaf), qui fut en charge de la Maison des antiquités arabes, comme on l’appelait alors, jusqu’en 1930, date à laquelle le musée passa au ministère de l’Éducation.  \n  \nAu cours de ses 20 premières années, les acquisitions du musée ne provenaient que des mosquées et des bâtiments publics. Plus tard, le musée entreprit sa première fouille en 1910 dans les environs de Doronka en Haute Égypte, puis une seconde au sud du Caire, mettant au jour une section de la ville de Fustat (première capitale islamique d’Égypte).  \n  \nLe musée a acquis de nombreuses pièces grâce à des dons. Le roi Fouad Ier a légué une collection de textiles, de balances et de sceaux de grande valeur, tout comme le roi Farouk, l’émir Muhammad Ali et l’émir Youssouf Kamal. L’émir Kamal al-Din Hussein ainsi que Yakoub Artin Pacha et Ali Ibrahim Pacha ont également offert des collections complètes.  \n  \nLes collections, riches de 7 082 pièces, ont été transférées dans leur bâtiment actuel en décembre 1903 à l’occasion de l’inauguration du présent musée. En 1952, le musée a été rebaptisé “Musée d’art islamique” pour refléter l’ampleur des collections : des objets produits dans le monde islamique et couvrant une période allant du début de l’ère islamique (VIIe siècle) à la fin du XIXe siècle. Le nombre de pièces enregistrées atteint maintenant les 103 000.  \n  \nLes collections comprennent des lampes en verre émaillé, des céramiques égyptiennes et une rare collection de filtres de gargoulettes en filigrane à décor peint sous glaçure, ces pièces étant célèbres pour leurs motifs d’entrelacs. À noter également des collections de bois, de textiles et de pierres à inscriptions, et une collection de tapis qui est considérée comme l’une des plus importantes de sa catégorie. Les collections d’instruments scientifiques montrent bien à quel point la civilisation islamique a contribué à la connaissance dans des domaines aussi nombreux que différents. Il y a aussi une extraordinaire collection de sceaux, poids et mesures, et de pièces de monnaies en or, argent, et cuivre.  \n  \nRiche de l’une des plus importantes collections d’art islamique au monde, le Musée d’art islamique continue à développer ses collections, et à moderniser le bâtiment avec ses 25 pièces, ses bureaux et son jardin archéologique.","city":"Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"},"f6a3053d-d710-547e-be54-96097d448f7a":{"name":"Musée national de Damas","description":"Le Musée national de Damas fut fondé en 1919 et placé sous la responsabilité du ministère de l’Éducation. Le noyau originel de ses collections était initialement conservé à la madrasa al-'Adiliya. La collection s’enrichit progressivement, et la découverte du palais omeyyade de al-Hayr al-Gharbi dans le désert syrien en 1936 accéléra encore les projets d’agrandissement et de rénovation du musée. Un bâtiment situé près de la takiyya al-Sulaymaniya fut retenu pour l’établissement du futur Musée national de Damas.  \n  \nQasr al-Hayr al-Gharbi montra à quel point il importait de consacrer encore plus d’attention à la période islamique, et les directeurs des Antiquités décidèrent d’intégrer ces découvertes palatiales au Musée national de Damas. Après un travail considérable et une expertise technique approfondie, la façade principale de Qasr al-Hayr al-Gharbi fut transférée et soigneusement reconstruite comme entrée principale du Musée national. Les salles latérales et le second niveau furent affectés aux plus importantes trouvailles artistiques de ce palais datant des débuts de la période islamique. L’ensemble de l’opération prit plusieurs années et l’ouverture officielle eut lieu en 1950.  \n  \nEn 1953, une aile de trois niveaux fut ajoutée pour abriter et exposer les antiquités orientales, la période islamique et l’art syrien moderne, ainsi que les expositions temporaires.  \n  \nL’une des plus récentes extensions comprenait trois doubles salles dédiées à la période islamique, une nouvelle salle de lecture et une bibliothèque. La salle de lecture fut meublée comme un salon de réception damascène du XIXe siècle, et c’est en soi un chef-d’œuvre de décoration et d’ornementation tardive. L’inauguration de cet agrandissement date de 1963.  \n  \nEn 1974 intervinrent de nouvelles adjonctions, consacrées cette fois à la période paléolithique. Et dernièrement, en 2004, l’aile dédiée aux expositions temporaires fut transformée et réservée à la collection permanente d’antiquités néolithiques.  \n  \nAujourd’hui, le Musée national de Damas comprend les sections suivantes:  \n  \n1\\. Paléolithique.  \n2\\. Néolithique.  \n3\\. Antiquités syriennes orientales.  \n4\\. Classique.  \n5\\. Islamique.  \n6\\. Arts modernes.","city":"Damascus","address":"Qasr el-Heir Street  \nDamascus, Syria","phone":"+963 11 2234331","email":"sam.orient@mail.sy"}}

package/translations/partners.it.json

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+{"8128a827-15fb-5166-902e-e23aab2a8fd7":{"name":"Museo di Arte Islamica al Pergamon Museum","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"a3753de5-842a-5f0b-a8c7-50bb2e312ce6":{"name":"Kunsthistorisches Museum","city":"Vienna","address":"Burgring, 5  \n1010 Wien  \nAustria","website":"http://www.khm.at/","phone":"+43 1 525 24-0","email":"info@khm.at"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}