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Maqamat (Assemblies) of al-Hariri

dc.coverage.spatialCreation location: Cairo (Egypt)en_US
dc.creatorHaririen_US
dc.date.accessioned2007-07-23T17:49:50Z
dc.date.available2007-07-23T17:49:50Z
dc.identifier029266en_US
dc.identifier.urihttp://hdl.handle.net/1721.3/19891en_US
dc.descriptionon left, Abu Zayd in black cloak standing in pulpit (minbar); on right a crowd of men listening; blue dome of mosque at top of frame; delicate columns and arcade with foliation decor are above and around the figures; arabic writing at top right1) "A second, equally distinctive style emerged during the second quarter of the 14th century. The earliest example is found in a copy of the Maqamat (1333–4; Vienna, Österreich. Nbib., MS. A.F. 9). The style of illustration has many similarities with contemporary Koran illumination (see §3(i) above) and the chinoiserie style found in Iranian manuscripts of the same period (see §§(b) and (c) below). All the manuscripts in this tight group are lavishly decorated. The paintings are executed on a gold ground and have a thick gold frame surrounded by a ruled blue line with finials at each corner. The text is ornamented with whirling gold rosettes and illuminated chapter-headings in the manner of contemporary Korans. Despite the gold ground, the illustrations experiment with landscape and composition; they use the frame to create spatial tension and allow figures or animals to break out of it for increased dramatic effect. These spatial experiments and the exotic flora and fauna depicted—lotuses, peonies, gnarled trees, phoenixes and dragons—show the impact of Chinese pictorial conventions, which were probably received via Persian illustrated manuscripts as well as from the Chinese textiles and porcelains so popular at the Mamluk court. A new figural type with heavy Mongol features and thick black hair is probably intended to resemble members of the Mamluk élite." 2) "Before the end of the 14th century most patrons and collectors of illustrated literary manuscripts were not the Turkish-speaking Mamluks but educated members of the Arabic-speaking middle class, which included the sons of Mamluks. Several illustrated manuscripts contain the names of sons of Mamluks, and, although Arab patrons were not in the habit of adding their names to manuscripts, the name of a tax inspector from Damascus appears on a copy (1323; London, BL, Add. MS. 7293) of the Maqamat (‘Assemblies’) of al-Hariri, which he bought in 1375–6. Many of the texts popular with these patrons—the tales of the roguish adventurer Abu Zayd that al-Hariri brought together in his Maqamat..."en_US
dc.descriptionfull view, 2000en_US
dc.format.mediumpaper (fiber product)en_US
dc.format.mediumparchmenten_US
dc.format.mediumvellum (parchment)en_US
dc.relation.ispartof122080en_US
dc.subjectArcadesen_US
dc.subjectDomesen_US
dc.subjectLamps (Lighting devices)en_US
dc.subjectMiniatures (Paintings)en_US
dc.subjectMosquesen_US
dc.subjectTurbansen_US
dc.subjectMinbarsen_US
dc.subjectPulpitsen_US
dc.subjectMamluken_US
dc.subjectKings and rulersen_US
dc.subjectHariri, 1054-1122en_US
dc.subjectHarairi, 1054-1122. Maqamat. Persian & Arabicen_US
dc.subjectTalesen_US
dc.subjectIllumination of books and manuscripts, Islamicen_US
dc.titleAbu Zayd in the Minbar of the Samarkand Mosqueen_US
dc.titleMaqamat (Assemblies) of al-Haririen_US
dc.typeImageen_US
dc.rights.accessAll rights reserveden_US
dc.publisher.institutionRepository: from Hariri's Maqamat, Österreichische Nationalbibliothek (Vienna, Austria) ID: Nbib., MS. A.F. 9en_US
vra.culturalContextIslamicen_US
vra.culturalContextEgyptian (modern)en_US
vra.techniquehandwritingen_US
vra.techniqueillustration (process)en_US
vra.worktypeManuscript (document genre)en_US
vra.worktypeMiniature (painting)en_US
dc.contributor.displayauthor: text by Hariri (Islamic, 1054-1122)en_US


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