Mirando más allá del occidente
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Mirando más allá del occidente
Presentar un poco acerca de las bellezas del arte islámico.
Curated by Aurie Santana
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Mirando más alla del occidente

Mirando más alla del occidente | Mirando más allá del occidente | Scoop.it
Aurie Santana's insight:
En esta página encontrarás información variada a cerca de El Arte Islámico. Por Arte Islámico se entiende el estilo artístico desarrollado en la cultura generada por la religión islámica. El tema fue seleccionado, ya que soy amante de las artes y me interesó conocer a cerca de este tipo de arte al que desconocía. He aprendido mucho, sé que seguiré investigando ya que cada día me intereso en aprender más a cerca de éste.
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Discover Islamic Art Virtual Exhibitions | The Mamluks

Discover Islamic Art Virtual Exhibitions | The Mamluks | Mirando más allá del occidente | Scoop.it
Key for the Ka'ba

Hegira 765 / AD 1363
MamlukMuseum of Islamic Art
Cairo, EgyptThe Mamluk sultans donated sacred keys to the Ka'ba in Mecca, the holiest shrine in Islam.
Via Cynthia M. Perez
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Cynthia M. Perez's curator insight, March 14, 2013 3:27 PM

Aqui presento la llave del Kaaba. De la dinastía "The Mamluks". Encontrado en Cairo, Egipto en los años 659 / 1261.

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Calligraphic dish [India]

Calligraphic dish [India] | Mirando más allá del occidente | Scoop.it

Adil Shahi period (1490–1686), ca. 1600
India, Deccan, Bijapur
Copper alloy; cast

 
Aurie Santana's insight:

This dish is made of a cast copper alloy that has been etched. The central medallion has three horizontal lines of calligraphy in thuluth script on a background of spiral scrolls with floral and leaf motifs. The writing in the surrounding circular band is placed among scattered vegetal elements. The central inscription is a slightly altered form of the Shi'i profession of faith—"There is no god but God, Muhammad is the messenger of God, 'Ali is the friend of God"—and the passages around it are from the Qur'an. More metalwork is known from the Deccan than from any other region in India, and a group of about twenty bronze, copper, and brass vessels decorated with superbthuluth script, like this one, can be attributed to the sixteenth and seventeenth centuries. The inscriptions on them are in the style of the Arabic epigraphy carved on black basalt panels in mosques and tombs in the Golconda-Hyderabad area, which were designed by scribes from Iran or the Arab world working in India at the time. The content of the inscriptions is frequently Shi'i—the invocation to 'Ali being particularly common—in combination with verses from the Qur'an. Shapes of these pieces differ substantially from those found in Safavid metalwork; in the Deccan, mostly trays, plaques, lotas (a type of water vase unknown in Iran), stemmed cups, and kashkuls (begging bowls) were produced.

 
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Cup

Cup | Mirando más allá del occidente | Scoop.it

9th–10th century
Egypt, Syria, or Iraq
Yellowish colorless glass, free-blown and impressed; tooled on the pontil

 
Aurie Santana's insight:

The decoration on this cup consists of an impressed vertical inscription repeated eight times: baraka li-sahibihi ("Blessing upon its owner"). Large cups of squarish proportions were often decorated with standard inscriptions wishing blessings, success, and well-being.

 
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Bowl in millefiori technique

Bowl in millefiori technique | Mirando más allá del occidente | Scoop.it

Abbasid period (750–1258), 9th century
Probably Iraq
Glass, green, opaque yellow, and opaque red mosaic; fused, slumped, ground, and polished, applied foot

 
Aurie Santana's insight:

The cane slices on this bowl are a variation of the "bull's-eye" motif, here in a complex and sophisticated floral pattern. The high temperature during fusion caused the canes to melt partially and become misshapen, creating a composition in which the green and yellow ran into each other while the central red flower remained clearly defined. This bowl is the largest extant intact example of a mosaic glass vessel.

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Panel with horse heads

Panel with horse heads | Mirando más allá del occidente | Scoop.it

Fatimid period (909–1171), 11th century
Egypt
Wood (teak); carved

 
Aurie Santana's insight:

This panel, probably from a wooden door, is deeply carved with two horse heads in relief. Attention to detail is evident in the beaded bands and bridles amid arabesques. The piece was carved to different depths in order to produce a pleasing chiaroscuro effect, a technique mastered by Fatimid woodworkers. A companion piece, almost certainly from the same door, is in the Museum of Islamic Art, Cairo.

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Pierced globe

Pierced globe | Mirando más allá del occidente | Scoop.it

Mamluk period (1250–1517), late 13th–early 14th century
Syria, Damascus
Brass; spun and turned, pierced, chased, inlaid with gold, silver, and black compound

 
Aurie Santana's insight:

Spherical incense burners, few of which have survived, were hung from the ceiling or from the vault of an arch, and the ingenious system of gimbals (also called cardan joints) inside the sphere stabilized the burning incense in the swinging container.

 
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Tray from a Small Serving Table

Tray from a Small Serving Table | Mirando más allá del occidente | Scoop.it

Creator: Iranian (Artist)

Period: late 12th- early 13th century (Medieval)

Medium: brass, silver and copper inlay (Metal)

 
Aurie Santana's insight:

This small tray is decorated with arabesques and with Arabic inscriptions that bestow good wishes- including good fortune, blessing, wealth, joy, and happiness- on its owner.

 

 
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Kashan Ware Jug with a Seated Female and Arabesques

Kashan Ware Jug with a Seated Female and Arabesques | Mirando más allá del occidente | Scoop.it

Creator: Iranian (Artist)

Period: 13 century (Medieval)

Medium: fritware with luter decoration

 

Aurie Santana's insight:

This large jug originally had a handle at its neck. It appears to be the mate of a vase in the National Museum of Iran, Tehran, inscribed with the name of Hasan ibn Salman, who seems to have been an important Iranian vizier, or minister, and who may have wanted to own a set of large vessels from the famous lusterware workshops in Kashan.

 

 

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"Laila and Majnun at School", Folio from a Khamsa (Quintet) of Nizami

"Laila and Majnun at School", Folio from a Khamsa (Quintet) of Nizami | Mirando más allá del occidente | Scoop.it

Author:Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141–1217)

Object Name:Folio from an illustrated manuscript

Date:A.H. 835/ A.D. 1431–32

Geography:present-day Afghanistan, Herat

Medium:Ink, opaque watercolor, and gold on paper

 
Aurie Santana's insight:

This splendid painting is from a manuscript of the frequently illustrated story of Laila and Majnun by the twelfth-century Persian poet Nizami of Ganja (a city in the present-day Republic of Azerbaijan). It was commissioned by the Timurid prince Baysunghur of Herat, one of the greatest bibliophiles in all Islamic history, who gathered at his court the very best painters from Baghdad, Tabriz, Shiraz, and Samarkand to illustrate his matchless collection of books. The illustration depicts Qais, the future "mad one" (Majnun) for love, and Laila, his beloved, who meet for the first time as children at a mosque school. The painting underscores the closely related aesthetics of figural painting and abstract calligraphy, architectural tiling and royal carpet weaving in traditional Islamic civilization, united here in a visual symphony of flat but dramatically colored patterns. The scene depicts the child lovers framed in the mosque's prayer niche in order to emphasize their mystical status. These visual conventions of Persian art, usually laden, as here, with Neoplatonic symbolism, crystallized in the royal cities of Tabriz and then Herat at the turn of the fourteenth and fifteenth centuries and endured for another 250 years in the court paintings of Iran, Turkey, and India.

 
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The Louvre, Paris : Pattern in Islamic Art

The Louvre, Paris : Pattern in Islamic Art | Mirando más allá del occidente | Scoop.it

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Aurie Santana's insight:

Region - Egypt

CE10th century - AH 4th century

 RegionEgypt
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Paradise Found : Islamic Architecture and Arts (A history; documentary)

A documentary on arts and architecture in Islam.
 
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Gold and gem-set pipe made for the Ottoman market

Gold and gem-set pipe made for the Ottoman market | Mirando más allá del occidente | Scoop.it
Aurie Santana's insight:

19th century AD / 13th century AH

 
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Islamic Arts Museum Malaysia (Madera)

Islamic Arts Museum Malaysia (Madera) | Mirando más allá del occidente | Scoop.it

Via Cynthia M. Perez
Aurie Santana's insight:
Wood works of century XII - XIX
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Cynthia M. Perez's curator insight, March 3, 2013 3:50 PM

Trabajos hechos de madera desde el siglo Xll al XlX.

Cynthia M. Perez's comment, March 19, 2013 8:25 PM
Gracias por el re-scoop!
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Textile fragment [Spain]

Textile fragment [Spain] | Mirando más allá del occidente | Scoop.it

First half of 12th century
Spain
Silk and gold-wrapped silk; a compound weave

 
Aurie Santana's insight:

This textile fragment displays a pattern of roundels bearing addorsed griffins with gazelles below their forelegs, within a border of pairs of fantastic animals. The interstitial motif consists of an eight-pointed star enclosing a rosette, and surrounded by pairs of confronted quadrupeds. The pattern, popular in both Muslim and Byzantine worlds, recalls earlier silks of the eastern Mediterranean and, ultimately, of Central Asia. Silks of this type have been found in reliquaries of churches in Spain; they may be the "patterns with circles" of Almería referred to in historical documents.

 

 
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Astrolabe of 'Umar ibn Yusuf ibn

Astrolabe of 'Umar ibn Yusuf ibn | Mirando más allá del occidente | Scoop.it

Rasulid period (1228–1454), dated A.H. 690 / A.D. 1291
Yemen
Brass; cast and hammered, pierced, chased, inlaid with silver

 
Aurie Santana's insight:

Invented in ancient Greece, the astrolabe is a sophisticated tool for observing the position of the stars. In early Islam, when scientific studies flourished, astrolabes were vastly improved and came to be used to determine the correct times for Muslim prayers as well. Through Islamic Spain, the astrolabe was introduced to Europe, and in the Middle Ages sailors, both Islamic and Christian, employed the device to stay the course of their sea routes.

 
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Bottle with molded designs of animals

Bottle with molded designs of animals | Mirando más allá del occidente | Scoop.it

 Abbasid period (750–1258), 9t–10th century
Iraq or Syria
Glass, greenish yellow, blown in two parts, impressed with tongs

 
Aurie Santana's insight:

Vessels, usually those with open profiles, were often decorated with patterns carved on the ends of metal tongs and impressed on the object. Bottles such as this one, formed from two separate sections that were impressed before being joined in the so-called incalmo technique, were rather uncommon. Its appearance is enhanced by the two different colors of the upper and lower sections, making it a remarkable example of its type.

 
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Hasan ibn Sulaiman al-Isfahani: Stand for a Qur'an manuscript

Hasan ibn Sulaiman al-Isfahani: Stand for a Qur'an manuscript | Mirando más allá del occidente | Scoop.it

Muzzafarid period (1314–93), dated A.H. 761 / A.D.1360
Made by Hasan ibn Sulaiman al-Isfahani
Iran or Central Asia
Wood (teak); carved, painted, inlaid

 

 
Aurie Santana's insight:

This impressive Qur’an stand, or rahla, one the most accomplished works in wood to survive from Iran, bears the signature of its carver, who was probably from Isfahan in central Iran. The splendid carved decoration, which includes the motif of a flowered bush within a niche surrounded by calligraphic blessings upon the Prophet and the Twelve Imams, reveals a Shici association. Other inscriptions include the date as well as the name of the patron who ordered this stand for a madrasa (theological school), but they do not give the name of the school or the city where it was located.

 

 
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Brazier of Sultan al-Malik al-Muzaffar Shams al-Din Yusuf ibn 'Umar

Brazier of Sultan al-Malik al-Muzaffar Shams al-Din Yusuf ibn 'Umar | Mirando más allá del occidente | Scoop.it

Mamluk period (1250–1517), second half of 13th century
Egypt
Brass; cast, chased, inlaid with silver and black compound

 

 
Aurie Santana's insight:

This only surviving Mamluk brazier, one of the best examples of inlaid metalwork, was dedicated to the Rasulid sultan of Yemen, al-Malik al-Muzaffar Shams al-Din Yusuf ibn 'Umar (r. 1250–95). The attribution is confirmed by the presence of the five-petalled rosette, the emblem of the Rasulids. Such braziers were probably used as grills and heaters.

 

 
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Polycandelon

Polycandelon | Mirando más allá del occidente | Scoop.it

Creator: Iranian (Artist)

Period: 12th - 13th century

Medium: cast bronze, copper and silver inlay (Metal)

 
Aurie Santana's insight:

This lamp-holder was originally suspended horizontally by chains and fitted with six glass lamps. Although quite common in other parts of the medieval Islamic world, lighting devices of this type were rare in Iran, where rooms were lit primarily by standing lamps.

 
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Ivory Plaque with Peacock

Ivory Plaque with Peacock | Mirando más allá del occidente | Scoop.it

Creator: Egyptian (Artist)

Period: 12 century (Medieval)

Medium: Ivory (Ivory & Bone)

 

Aurie Santana's insight:

This plaque- representing a peacock and hare (fragment)- was made as part of the inlaid fittings for a door, chest, or other large piece of furniture.

 
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The Metropolitan Museum of Art - Flask

The Metropolitan Museum of Art - Flask | Mirando más allá del occidente | Scoop.it

Date:9th century

Geography:probably Egypt

Medium:Glass; cut and incised

 
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Islamic Art Gallery

Footage of the New Galleries for Islamic Art at The Metropolitan Museum of Art.

 
Aurie Santana's insight:

Galleries of the Art of the  Arab Lands, Turkey, Iran, Central Asia, and Later South Asia

 

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Metalwork

Metalwork | Mirando más allá del occidente | Scoop.it

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Aurie Santana's insight:

   Most of the Islamic metalwork that has survived is made of base alloys, although it is clear that these were items of great importance in their own time. Almost no gold or silver vessels exist. Works in brass and bronze reveal a picture of metalworkers gifted with enormous ingenuity and technical ability. Many pieces were signed by their makers, suggesting that they were objects of considerable prestige.

   During the early Islamic period, Iran produced some of the finest metalwork the world has ever seen. Sturdy and yet elegant, they show the ability of craftsmen in the Islamic world to transform basic items of utility into refined works of art. Outside Iran, there were other achievements in the field of metalwork. During the 13th century, a school emerged in Mosul that rivalled the expertise of Iran. The Mongol invasion of Mesopotamia drove these artisans westwards, where the Mamluk rulers of Egypt and Syria became patrons of another great flowering of metalwork.

 
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Kilga (Jar Stand)

Kilga (Jar Stand) | Mirando más allá del occidente | Scoop.it
Egypt (probably Cairo), possibly 12th century; Carved marble
Aurie Santana's insight:
The kilga would have been used to hold a water storage jar. A hole in the lower part of the jar allowed water to run into the basin of the kilga through a pouring device. For a complete version with storage jar.
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