Doris Behrens-Abouseif – författare

This volume presents vessels, fittings and other objects made in Syria, Egypt, Iraq and Yemen from the early Islamic period through to the end of the Ottoman era in the 19th century. The pieces include exquisite platters, serving-vessels, candlesticks and pen-boxes produced for royal courts, but also many beautifully decorated bronze domestic items, such as bowls, lunch-boxes, door-knockers, buckets and lamps. The metalwork traditions in this book reflect the complex history of the Arab world following the advent of Islam. The collection starts in the Late Antique period, which informed the early Islamic royal styles of the Umayyad, Abbasid and Fatimid dynasties, and goes on to trace the emergence of Mosul as a centre for metalwork in the 12th–13th centuries; the courtly Mamluk style during the Bahri period (1250–1380s); the Circassian era (1380s–1517); the growth of the European export market from the 15th century; distinctive vernacular styles in Yemen during the 14th–16th centuries; and the many revivals and fusions of international styles over six centuries of Ottoman rule (1517–1900s). Finally, an enigmatic group of zoomorphic fittings that defies easy dating is celebrated for the craftsmanship and charm of its animal figures. This beautifully illustrated volume features many important unpublished pieces and is essential reading for specialists, but it will fascinate and inform anyone with an interest in Islamic culture and history, metalwork and the decorative arts of the Arab world.With 350 illustrations

Elaborate and sensational gifts were the hallmark of Mamluk diplomacy. In firm control of the medieval spice trade as well as the holy sites of Christianity and Islam, the Sultanate's capital at Cairo became a diplomatic crossroads in the medieval world and the seat of a new Islamic caliphate. Already victorious over both the Crusaders and the Mongols, their military success and lavish religious patronage were not enough to ensure the dynasty's prestige: the Mamluk Sultans were often reminded of their slave origins, impugned by rivals as 'pagans' recruited to faith and service by purchase. In response, the sultans staged brilliant performances in Cairo and dispatched carefully designed diplomatic gifts all over the medieval world. These marvellous displays were the crowning ornament of Mamluk legitimacy, celebrated from Europe to the Far East. Drawing on extensive primary sources and fieldwork in museums across the world, Doris Behrens-Abouseif is the first to treat this important subject in depth and here reveals an unexplored aspect of Middle Eastern material culture.Composed of spectacular elements such as spices, exotic animals, Chinese porcelain, ceremonial textiles and military and equestrian objects - not to mention humans, either living or as severed heads - the regal offering varied in combination and emphasis according to the status and circumstances of giver and receiver, but always created a sensation. Acknowledging the established historical precedents of diplomacy and regal gift-giving, the author examines the nuance of cultural and political realities in period diplomacy as well as the transmission of encrypted messages, illuminating the subtle conveyance of self-representation and identity in medieval Cairo and the world beyond. With ground-breaking new research, this book - richly illustrated in colour - provides a comprehensive view of the art and politics of the Mamluk diplomatic gift, by which these sultans of humble origins created a magnificent image of themselves in the courts of their Muslim rivals and allies worldwide. It will prove essential reading for both students and scholars.

Elaborate and sensational gifts were the hallmark of Mamluk diplomacy. From Cairo, where they controlled the medieval spice trade and the holy sites of Christianity and Islam, the Mamluk Sultans - conscious of their humble slave origins - augmented their claims to legitimacy through brilliant displays of diplomatic gift-giving, creating a celebrated reputation for the Sultanate from Europe to the Far East. From spices, ceremonial textiles and military objects to elephants and giraffes, and even humans - either living or as severed heads - the offerings varied in combination and emphasis according to the status and circumstances of giver and receiver, but always created a sensation. Through an unparalleled study of primary sources and rigorous fieldwork, this original book - richly illustrated in colour - explores the unpredictable and nuanced art of the regal gift in the Mamluk Sultanate from 1250-1517. Doris Behrens-Abouseif not only provides the first study of this subject, but makes an important contribution to the study of diplomacy, economics, visual arts and material culture in the medieval period.

Elaborate and sensational gifts were the hallmark of Mamluk diplomacy. From Cairo, where they controlled the medieval spice trade and the holy sites of Christianity and Islam, the Mamluk Sultans-conscious of their humble slave origins-augmented their claims to legitimacy through brilliant displays of diplomatic gift-giving, creating a celebrated reputation for the Sultanate from Europe to the Far East. From spices, ceremonial textiles, and military objects, to elephants and giraffes, and even humans-either living or as severed heads. The offerings varied in combination and emphasis according to the status and circumstances of giver and receiver, but always created a sensation. Through an unparalleled study of primary sources and rigorous fieldwork, this original book-richly illustrated in colour-explores the unpredictable and nuanced art of the regal gift in the Mamluk Sultanate from 1250-1517. Doris Behrens-Abouseif not only provides the first study of this subject, but makes an important contribution to the study of diplomacy, economics, visual arts, and material culture in the medieval period.

This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art. The essays have a relevance and importance for our understanding of the societies and attitudes of that time, and have a direct bearing on the more general debate concerning cultural identity and the integration of modern ideas in the Muslim world. The book is richly illustrated with very many illustrations in black-and-white and in full colour.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art. The essays have a relevance and importance for our understanding of the societies and attitudes of that time, and have a direct bearing on the more general debate concerning cultural identity and the integration of modern ideas in the Muslim world. The book is richly illustrated with very many illustrations in black-and-white and in full colour.

This book is the first to date to be dedicated to the circulation of the book as a commodity in the Mamluk sultanate. It discusses the impact of princely patronage on the production of books, the formation and management of libraries in religious institutions, their size and their physical setting. It documents the significance of private collections and their interaction with institutional libraries and the role of charitable endowments (waqf ) in the life of libraries. The market as a venue of intellectual and commercial exchanges and a production centre is explored with references to prices and fees. The social and professional background of scribes and calligraphers occupies a major place in this study, which also documents the chain of master-calligraphers over the entire Mamluk period. For her study the author relies on biographical dictionaries, chronicles, waqf documents and manuscripts.