بازگشت به جستجو

Panel

عنوان Panel
نویسنده Unknown (makers)
تاریخ انتشار: 1333
محل انتشار Granada (made) -
موضوع Architectural Fittings
نوع دیگر
زبان نامشخص
دیجیتال بله
نسخه خطی خیر
ابعاد فیزیکی Width: 31cm, Height: 37cm, Depth: 3.5cm
کتابخانه: Victoria and Albert Museum
شناسه دارایی کتابخانه A.173-1919
شماره ثبت A.173-1919
محل کتابخانه Middle East Section
تاریخ 1333
یادداشت‌ها Alhambra. Sculpture; Gypsum plaster Islamic Spain, 1333-1354
متن نمونه ولا غالب الا اللهTransliteration'wa la ghalib ila Allah'Translation'There is no conqueror but God'NoteRight on top there is a cartouche with cursive inscriptions with the Nasrid logo: Wa-lã gãliba illã Allãh meaning “there is not conqueror but Allah”., العافية الباقيةTransliteration'al-afiya al-baqiya'Translation'Perpetual health'Notethere are two other cartouches at the sides of the panel which depicts in cursive characters: al’-Afiya al-baqiya, Perpetual health., بركةTransliteration'baraka'Translation'blessing'Notekufic inscriptions that become part of the decoration., Transliteration,
Malzemeler ve teknikler Gypsum plaster, Moulded, Cast Gypsum Plaster Moulded Cast
Fiziksel açıklama Description This panel is of rectangular size, although 1/3 of the top of the panel is missing where we can see a very clear break. The surface was very dirty but the cleaning treatment uncovered the real whiteness of the gypsum plaster which presents as well traces of the orange clay originally used in Nasrid times as a releasing agent from the mould. There is a presence of some blue which is much later as we can see it in areas of break. The panel is framed by a line of strap work with knots. The inside the decoration is divided in different levels. In a deep level we can see the “ataurique” or vegetal decoration of palm leaves. At a higher level and over the ataurique there is an interlacing design of strap work which grows from a Kufic inscription at the base growing upwards forming symmetrical forms, complex knots and cartouches. Within these cartouches there are cursive inscriptions in Arabic. There are two half stars of eight points on at both sides of the panel. This panel presents different inscriptions. At the very bottom we find in the centre of the panel a symmetric baraka, blessing in Kufic characters. Right on top there is a cartouche with cursive inscriptions with the Nasrid logo: Wa-lã gãliba illã Allãh meaning “there is not conqueror but Allah”. Further up there are two other cartouches at the sides of the panel which depicts in cursive characters: al’-Afiya al-baqiya, Perpetual health. In between these two cartouches we found again another baraka which appears in other areas of the panel in symmetrical locations as part of those kufic inscriptions that become part of the decoration. Technical Description Gypsum plaster This fragment of plasterwork presents two different main layers or types of gypsum plaster corresponding at the front with the ornamented cast panel, and at the back with the gypsum mixture that fixed the panel to the wall which would have been pored from the top while the cast panel had bee propped up against wall. The different gypsums present are: • The gypsum from the panel is white and fine and of good quality, under optical observation very little impurities, like small particles of quartz and clays. There is also presence of some very small air bubbles • The back mortar is of a grey tonality and of a more heterogeneous nature with evidently presence of quite big particles of impurities. It corresponds with typical black gypsum used mainly to fix cast panels to a wall. The fact that we find black gypsum adhered to the back of the panel is a proof that this panel has been attached to a wall in the past. Still we can see the tool marks when at some point that gypsum was thinned down at the back, after the panel was removed from the wall. Releasing agent This panel has probably been produced by mould originally. After the cleaning treatment remains of an orange substance could be seen in many areas of the relief; this probably is the orange clay used by the Nasrid technique as a releasing agent to be able to remove the panel from the mould. Obviously a trace was always left behind on the front of the cast panel as some of the clay would adhere itself to the setting gypsum in the mould. The clay can be seen on the sides with some big particles embedded in the gypsum surface. Paint layers. The panel is some areas seems to preserve remains of the original white priming layer, but its very difficult to establish due to the high level of degradation and erosion the panel has suffered through in the past . The panel does to preserve any sort of what we could think of original polychrome. There are some faded blue applications found randomly applied in small patches, some of them coincide with the big break edge at the top, therefore we can affirm that is a modern intervention. In some of the recesses there are traces of white skims applied on top of another, this could relate to the lime washing of the panel at a later stage.
Üretim said to have come from the Alhambra at Granada
مشاهده در منبع Victoria and Albert Museum Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی
Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی Victoria and Albert Museum

Panel

نویسنده Unknown (makers)
تاریخ انتشار 1333
محل انتشار Granada (made) -
موضوع Architectural Fittings
نوع دیگر
زبان نامشخص
دیجیتال بله
نسخه خطی خیر
ابعاد فیزیکی Width: 31cm, Height: 37cm, Depth: 3.5cm
کتابخانه Victoria and Albert Museum
شناسه دارایی کتابخانه A.173-1919
شماره ثبت A.173-1919
محل کتابخانه Middle East Section
تاریخ 1333
یادداشت‌ها Alhambra. Sculpture; Gypsum plaster Islamic Spain, 1333-1354
متن نمونه ولا غالب الا اللهTransliteration'wa la ghalib ila Allah'Translation'There is no conqueror but God'NoteRight on top there is a cartouche with cursive inscriptions with the Nasrid logo: Wa-lã gãliba illã Allãh meaning “there is not conqueror but Allah”., العافية الباقيةTransliteration'al-afiya al-baqiya'Translation'Perpetual health'Notethere are two other cartouches at the sides of the panel which depicts in cursive characters: al’-Afiya al-baqiya, Perpetual health., بركةTransliteration'baraka'Translation'blessing'Notekufic inscriptions that become part of the decoration., Transliteration,
Malzemeler ve teknikler Gypsum plaster, Moulded, Cast Gypsum Plaster Moulded Cast
Fiziksel açıklama Description This panel is of rectangular size, although 1/3 of the top of the panel is missing where we can see a very clear break. The surface was very dirty but the cleaning treatment uncovered the real whiteness of the gypsum plaster which presents as well traces of the orange clay originally used in Nasrid times as a releasing agent from the mould. There is a presence of some blue which is much later as we can see it in areas of break. The panel is framed by a line of strap work with knots. The inside the decoration is divided in different levels. In a deep level we can see the “ataurique” or vegetal decoration of palm leaves. At a higher level and over the ataurique there is an interlacing design of strap work which grows from a Kufic inscription at the base growing upwards forming symmetrical forms, complex knots and cartouches. Within these cartouches there are cursive inscriptions in Arabic. There are two half stars of eight points on at both sides of the panel. This panel presents different inscriptions. At the very bottom we find in the centre of the panel a symmetric baraka, blessing in Kufic characters. Right on top there is a cartouche with cursive inscriptions with the Nasrid logo: Wa-lã gãliba illã Allãh meaning “there is not conqueror but Allah”. Further up there are two other cartouches at the sides of the panel which depicts in cursive characters: al’-Afiya al-baqiya, Perpetual health. In between these two cartouches we found again another baraka which appears in other areas of the panel in symmetrical locations as part of those kufic inscriptions that become part of the decoration. Technical Description Gypsum plaster This fragment of plasterwork presents two different main layers or types of gypsum plaster corresponding at the front with the ornamented cast panel, and at the back with the gypsum mixture that fixed the panel to the wall which would have been pored from the top while the cast panel had bee propped up against wall. The different gypsums present are: • The gypsum from the panel is white and fine and of good quality, under optical observation very little impurities, like small particles of quartz and clays. There is also presence of some very small air bubbles • The back mortar is of a grey tonality and of a more heterogeneous nature with evidently presence of quite big particles of impurities. It corresponds with typical black gypsum used mainly to fix cast panels to a wall. The fact that we find black gypsum adhered to the back of the panel is a proof that this panel has been attached to a wall in the past. Still we can see the tool marks when at some point that gypsum was thinned down at the back, after the panel was removed from the wall. Releasing agent This panel has probably been produced by mould originally. After the cleaning treatment remains of an orange substance could be seen in many areas of the relief; this probably is the orange clay used by the Nasrid technique as a releasing agent to be able to remove the panel from the mould. Obviously a trace was always left behind on the front of the cast panel as some of the clay would adhere itself to the setting gypsum in the mould. The clay can be seen on the sides with some big particles embedded in the gypsum surface. Paint layers. The panel is some areas seems to preserve remains of the original white priming layer, but its very difficult to establish due to the high level of degradation and erosion the panel has suffered through in the past . The panel does to preserve any sort of what we could think of original polychrome. There are some faded blue applications found randomly applied in small patches, some of them coincide with the big break edge at the top, therefore we can affirm that is a modern intervention. In some of the recesses there are traces of white skims applied on top of another, this could relate to the lime washing of the panel at a later stage.
Üretim said to have come from the Alhambra at Granada
Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی
Victoria and Albert Museum شما در حال هدایت مجدد هستید...

لطفاً صبر کنید