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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.","artist_birthdate":"1582","artist_birthplace":"Parma","artist_deathdate":"1647","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","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.","artist_birthdate":"1731","artist_birthplace":"Sciacca (Agrigento)","artist_deathdate":"1807","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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.","dynasty":"Fatimid","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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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":["Plaster, painted using the secco technique."]},"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.","dynasty":"Umayyad","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, Nela Tarbuk","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","short_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","keywords":["Vienna","Museum of Fine Arts Vienna","World Fair Exhibition Vienna"]},"8c849c6a-3e58-57d8-b731-007ad15dcd18":{"name":"Decoration of the Egyptian collection of Kunsthistorisches Museum in Vienna","short_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","keywords":["Vienna","Museum of Fine Arts Vienna","World Fair Exhibition Vienna"]},"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.","dynasty":"Umayyad","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","dynasty":"Umayyad"},"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.","dynasty":"Ayyubid","author":"Dina Bakkour, Mona al-Moadin","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Christian art","Fresco","monastery","panel","stucco"],"materials":["Plaster and coloured mineral and metallic pieces applied using the fresco technique upon a coating of stucco, over a layer of thick clay."]},"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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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":["Plaster, painted using the secco technique."]},"ea3a91f8-4029-5f91-8e55-44b4089bf748":{"name":"*Bayt al-Barudi steamship murals, Damascus*","short_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","short_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","keywords":["archaeology","Egyptomania","exploration","collection","collecting","wall painting","museums","travel","traveller"]}}
+{"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.","artist_birthdate":"1582","artist_birthplace":"Parma","artist_deathdate":"1647","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Fresco; mythology; telamons; palatial architecture; trompe-l'oeil; quadro riportato"],"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Umayyad; palace; bath; fresco; painting."],"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.","artist_birthdate":"1731","artist_birthplace":"Sciacca (Agrigento)","artist_deathdate":"1807","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Fresco; Sicilian painters; mythology; classical model; Arcadia"],"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Painting; fresco; plaster; Caliph Hisham bin Abd al-Malik; Qasr; desert palace; Daniel Schlumberger; Hijaz"],"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.","dynasty":"Umayyad","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.","dynasty":"Fatimid","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Stucco; bathhouse; figurative representation; fresco"],"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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","keywords":["Apodyterium; fresco; dance"],"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Qasr; desert palace; floor painting; plaster; Caliph Hisham bin Abd al-Malik; Daniel Schlumberger; Gaea"],"materials":["Plaster, painted using the *secco* technique."]},"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.","dynasty":"Umayyad","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, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Wall painting; Drašković family; Austrian army; warfare; soldier"],"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","short_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","keywords":["Vienna; Museum of Fine Arts Vienna; World Fair Exhibition Vienna"]},"8c849c6a-3e58-57d8-b731-007ad15dcd18":{"name":"Decoration of the Egyptian collection of Kunsthistorisches Museum in Vienna","short_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","keywords":["Vienna; Museum of Fine Arts Vienna;World Fair Exhibition Vienna"]},"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.","dynasty":"Umayyad","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","dynasty":"Umayyad"},"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.","dynasty":"Ayyubid","author":"Dina Bakkour, Mona al-Moadin","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Panel; fresco; stucco; Christian art; monastery"],"materials":["Plaster and coloured mineral and metallic pieces applied using the fresco technique upon a coating of stucco, over a layer of thick clay."]},"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.","dynasty":"Umayyad","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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Qasr; desert palace; figurative painting; plaster; Caliph Hisham bin Abd al-Malik; Daniel Schlumberger; musician; musical instruments; hunters"],"materials":["Plaster, painted using the *secco* technique."]},"ea3a91f8-4029-5f91-8e55-44b4089bf748":{"name":"*Bayt al-Barudi steamship murals, Damascus*","short_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","short_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","keywords":["archaeology; Egyptomania; exploration; collection; collecting; wall painting; museums; travel; traveller"]}}

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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.","dynasty":"Omeyas","author":"Annette Hagedorn","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["fresco","omeya","palacio y baños","pintura"],"materials":["Pintura mural al fresco sobre yeso, muy deteriorada y desprendida."]},"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Fatimíes","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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Ayyubíes","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"]},"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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."]}}
+{"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.","dynasty":"Omeyas","author":"Annette Hagedorn","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["omeya; palacio y baños; pintura; fresco"],"materials":["Pintura mural al fresco sobre yeso, muy deteriorada y desprendida."]},"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.","dynasty":"Omeyas","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Pintura mural; fresco; escayola; califa Hisham bin Abd al-Malik; qasr; palacio del desierto; Daniel Schlumberger; rapsoda; Hiyaz."]},"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.","dynasty":"Omeyas","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Salón de audiencias; fresco; música."],"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.","dynasty":"Fatimíes","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Estuco; baños públicos; representación figurativa; elemento arquitectónico; fresco."],"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.","dynasty":"Omeyas","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Fresco; escena de caza."],"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Apodyterium; fresco; baile"],"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.","dynasty":"Omeyas","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Qasr; palacio del desierto; pintura de suelo; en seco; escayola; califa Hisham bin Abd al-Malik; Daniel Schlumberger; Gea"],"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","author":"Ghazi Bisheh","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Sala de audiencias; baño; fresco."],"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.","dynasty":"Ayyubíes","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Panel mural; fresco; estuco; arte cristiano; monasterio."],"materials":["Escayola y pigmentos minerales y metálicos de varios colores, aplicados con la técnica del fresco sobre un revestimiento de estuco, a su vez sobre una capa de gruesa arcilla preparada. Se dieron pinceladas anchas sobre la capa de escayola mientras aún est"]},"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","author":"Mona al-Moadin","copy_editor":"Zena Takieddine","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Qasr; palacio del desierto; pintura figurativa; en seco; escayola; califa Hisham bin Abd al-Malik; Daniel Schlumberger; músico; instrumentos musicales; cazadores"],"materials":["Escayola pintada en seco."]}}