The “Mosque Lamp” of Egypt at the Los Angeles County Museum of Art is one of several lamps that survived from the Islamic Era. As furnishings such as rugs or lamps were a significant aspect in mosque architecture during the 14th century and later, the “Mosque Lamp” made in Egypt is specific to the Mamluk period of the mid 14th century. Though there were other mosque lamps made continuing through the Ottoman period starting after the second half of this century, this “Mosque Lamp” made in the Mamluk period reflects so in three main distinguishing factors. For one, it reflects its context because it was made of enameled glass characteristic of production during the time. The “Mosque Lamp” shows characteristics of its commissioner Emir Shaykhu al-Nasiri who was an important patron of the arts and it has Arabic script incorporated in the lamp that confirms what the lamp was made for.
The “Mosque Lamp” of Egypt, like many of its kind, is shaped with a rounded base, a narrow center and a wide top. It is formed of glass that is enameled and filled in with fine gold, and then it is elaborately painted with blue enamel Arabic script and red, green, white, yellow and blue floral motifs. Unlike the Iznik method used during the Ottoman period in which mosque lamps were made with earthenware pottery and then glazed, mosque lamps like this one utilized the techniques of the prevalent glass production in Egypt and Syria. Luxury glass had been produced under various techniques such as cut glass and luster painting in between the 9th and 11th century under the Umayyad and Abbasid dynasties. When it moved on to the Mamluk period in the 13th century, production in Syria and Egypt emerged, using techniques of gilding painting and e...
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...rt & Architecture. New York: Oxford University Press, 2009. Print. 114-115
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“Mid-14th-century Islamic glass mosque lamp from Cairo” (XXVB94) In The Treasure of the Month. London: The Wallace Collection, 2004.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
During the 16th and 17th century, the Middle East saw the rise of the “Gunpowder Dynasties”. This included the Ottoman Empire, the Safavids of Persia, and the Mughals. Simply put, these civilizations were the first in the Mediterranean to use gunpowder weapons including guns and cannons. However, it did not stop there, with the use of gunpowder came the rise of new technologies in metallurgy, mining, and weapon design. The use of gunpowder had arrived in the Middle East due to the Mongols who first witnessed its use in China. The only other empires which used gunpowder at the time were Britain and the Netherlands. The use of gunpowder allowed the three empires of the Muslim world to achieve things they previously could not and led to many advances and dominance in the region. At the same time however, it also fragmented the Mediterranean. As well, contrary to what some may assume, all of the gunpowder empires were not Arab, they consisted of newcomers to the Middle East. With all this in mind, an examination of the similarities and differences between the empires and the difference they made in the Muslim world for centuries to come is vital.
The following paper objective is to present the funerary stela of Ta-Khaa-En-Bastet, kept at the Cincinnati Art Museum. The stela’s accession number is 1947.392 and is possibly from Abydos because of its imagery. The stela dates back to the Late Period of ancient Egypt, which is 664-332 BC. This funerary stela helps to provide data about the funerary practices and the responsibilities women had in ancient Egyptian society.
About.com Ancient / Classical History. Retrieved March 24, 2014, from http://ancienthistory.about.com/od/romerepublic/p/endRepublic.htm Heilbrunn Timeline of Art History. n.d. - n.d. - n.d. The Roman Republic. Retrieved March 26, 2014, from http://www.metmuseum.org/toah/hd/romr/hd_romr.htm Heilbrunn Timeline of Art History.
Springfield, IL: Charles Thomas Publishers, 2009. Print. Necipoglu, Gulru. Muqarnas, Vol 25: Frontiers of Islamic Art and Architecture.
The object pictured above belongs to a group of artifacts known as incantation bowls, demon bowls, devil-trap bowls, or simply magic bowls. They were crafted by the first millennia Anno Domini people of Mesopotamia and are found, perhaps exclusively, in modern day Iraq. They can be dated as early as 3rd century AD and as late as 8th century. The majority date between 400AD and 700AD. Known pieces in public collections number around 2000 with several times that number likely to exist in private collections. (Saar 2) This report will expand on these statements as well as explore incantation bowls’ production, their function, and what little is known (or provided) of the particular bowl from the Kelsey museum. First, however, we’ll look at the historical setting of the location and era.
In the following essay, I will be comparing the Hagia Sophia in the City of Istanbul, and the Suleymaniye Mosque of Istanbul. Both of these pieces of art are very significant to the in modern-day Turkey. The art pieces will be covered in more detail further on in this comparative essay, and finally, I will be judging the pieces at the end of this essay
The Byzantine Empire was a primarily Christian empire whose reign started in 330 A.D and ended in 1453 A.D with the capturing of the its capital, Constantinople by the Muslim Sultan Mehmed II. In the years following the fall of the Byzantines, many of the Christian basilicas were transformed into mosques for Islamic worship, inspiring many artists to create works that embodied their religious politics. One of the pieces created following the fall of the Byzantine Empire is the painting of Yusuf Fleeing Zulayhka, created in 1488 by Kamal al-Din Bihzad, a famous Persian painter who worked under the patronage of several Persian sultans. The illustration depicts Yusuf’s struggle to escape his master’s wife Zulaykha as she chases him through her elaborate palace in an attempt to seduce him. The representation was made using paint, ink and gold, and features jewel-like colors in order to portray the extravagancy of the palace Zulayhka has built specifically for the seduction of Yusuf (Stokstad 286). This essay will assess three accounts of the story of Yusuf and Zulaykha and the reasoning behind why the narrative is often labelled as a cautionary tale and of what kind.
The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
...era to protect the dynasty and religion. Furthermore, it presents itself as an art object representative of the ottoman period due to the material used, arabesque and calligraphic inscriptions.
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
...ic lighting thanks to intricate stained glass windows. These glorious structures built by some of the humblest of men have offered a vestige of the divine for people in the past and the present and will carry on into the future.
Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. 2004. Accessed October 27, 2011. http://www.metmuseum.org/toah/hd/duch/hd_duch.htm.
Time has taught humanity many things. From stone walls to wooden tree houses to glass homes. As far as creation is concerned, glass was and is necessary. Though some cities differ in the use of glass materials they are alike with some architectural aspects. From manufacturing companies for cars to your grandmother’s fine china; we’re talking about glass use of interior design. Some materials of glass are more expensive than others due to the use and weight of glass. With glass windows to windows to cars, glass has become a major factor in society without a doubt. Time has given us many things; stained glass for instance was even use as a symbol for religious purposes. Today we will discover three topics on how of an importance glass is in interior
The production of sacred books, allowed women of this time more than one choice at the kind of creative work they wanted to do. One of these options was to work as an illuminator. There are many illuminations from these times, but none o...