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Fragment

İsim	Fragment
Basım Tarihi:	1000
Basım Yeri	Egypt (made) Sicily (made) -
Konu	Woodwork Furniture Africa
Tür	Diğer
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Hayır
Fiziksel Boyutlar	Length: 7.9cm, Height: 4.3cm
Kütüphane:	Victoria and Albert Museum
Demirbaş Numarası	W.16-1917
Kayıt Numarası	W.16-1917
Lokasyon	Middle East Section
Tarih	1000
Notlar	The motif of a stronger animal attacking a weaker one has been a symbol of power in the Middle East since pre Islamic times, and may have symbolised the rulerâs or ownerâs ability to overcome his enemies. Such imagery is often associated with objects produced during the Fatimid period in north Africa and Sicily (969-1171), and can be seen on rock crystal ewers from this period. The Fatimidâs witnessed a great flourishing of wood carving, with surviving pieces associated with architecture, being friezes, door panels and surface panels and beams, many of which are currently preserved in situ within Coptic churches, mosques and secular buildings in Cairo. While surviving pieces of Islamic woodwork date back to the seventh century, Fatimid examples demonstrate a complex and wide iconographic repertoire of designs, motifs, and figures, building upon previous Abbasid, Coptic and Tulunid styles while exploiting foliated intersections, overlapping fields, and interlace patterns. The rich and layered carvings created by Fatimid wood carvers warranted considerable appreciation, causing pieces to be salvaged and re-utilised in later Ayyubid and Mamluk construction. Today, much Fatimid woodwork survives within the construct of later buildings or furnishings. Despite wood having existing in abundance in Egypt, much wood during the Fatimid period was believed to have been imported. While the Fatimids supposedly controlled the exploitation of acacia in Upper Egypt, Fatimid woodwork exists in a variety of woods including pine, acacia, cypress, ebony and teak, these reflecting both indigenous as well as imported species. The cost of both importing the wood along with the fine craftsmanship employed, suggests that these panels were a part of a luxury market. This particular panel would have fit into a larger composition, most probably surrounded by other carved pieces. This is suggested by the perforated edge outlining the fragment, which would have slid into a supporting frame or structure. This panel was most likely used to decorate a door of a cabinet or small object.
Malzemeler ve teknikler	Carved wood
Fiziksel açıklama	Rectangular shaped fragment, carved in a horizontal composition of an animal (perhaps a jackal) turning its head to look backwards at another animal (a bird of prey) attacking it from above. The scene is set within a rectangular frame, with the upper portion missing.

Kaynağa git Victoria and Albert Museum Victoria and Albert Museum - Osmanlıca el yazması arama motoru

Victoria and Albert Museum

Fragment

Basım Tarihi 1000

Basım Yeri Egypt (made) Sicily (made) -

Konu Woodwork Furniture Africa

Tür Diğer

Dil Belirlenmemiş dil

Dijital Evet

Yazma Hayır

Fiziksel Boyutlar Length: 7.9cm, Height: 4.3cm

Kütüphane Victoria and Albert Museum

Demirbaş Numarası W.16-1917

Kayıt Numarası W.16-1917

Lokasyon Middle East Section

Tarih 1000

Notlar The motif of a stronger animal attacking a weaker one has been a symbol of power in the Middle East since pre Islamic times, and may have symbolised the rulerâs or ownerâs ability to overcome his enemies. Such imagery is often associated with objects produced during the Fatimid period in north Africa and Sicily (969-1171), and can be seen on rock crystal ewers from this period. The Fatimidâs witnessed a great flourishing of wood carving, with surviving pieces associated with architecture, being friezes, door panels and surface panels and beams, many of which are currently preserved in situ within Coptic churches, mosques and secular buildings in Cairo. While surviving pieces of Islamic woodwork date back to the seventh century, Fatimid examples demonstrate a complex and wide iconographic repertoire of designs, motifs, and figures, building upon previous Abbasid, Coptic and Tulunid styles while exploiting foliated intersections, overlapping fields, and interlace patterns. The rich and layered carvings created by Fatimid wood carvers warranted considerable appreciation, causing pieces to be salvaged and re-utilised in later Ayyubid and Mamluk construction. Today, much Fatimid woodwork survives within the construct of later buildings or furnishings. Despite wood having existing in abundance in Egypt, much wood during the Fatimid period was believed to have been imported. While the Fatimids supposedly controlled the exploitation of acacia in Upper Egypt, Fatimid woodwork exists in a variety of woods including pine, acacia, cypress, ebony and teak, these reflecting both indigenous as well as imported species. The cost of both importing the wood along with the fine craftsmanship employed, suggests that these panels were a part of a luxury market. This particular panel would have fit into a larger composition, most probably surrounded by other carved pieces. This is suggested by the perforated edge outlining the fragment, which would have slid into a supporting frame or structure. This panel was most likely used to decorate a door of a cabinet or small object.

Malzemeler ve teknikler Carved wood

Fiziksel açıklama Rectangular shaped fragment, carved in a horizontal composition of an animal (perhaps a jackal) turning its head to look backwards at another animal (a bird of prey) attacking it from above. The scene is set within a rectangular frame, with the upper portion missing.