Aramaya Dön

Fragment

İsim	Fragment
Basım Tarihi:	1300
Basım Yeri	Egypt (made) Cairo (made) -
Konu	Africa Woodwork
Tür	Diğer
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Hayır
Fiziksel Boyutlar	Trapezoid height: 13cm, Trapezoid width: 8cm, Double pentagon height: 8.5cm, Double pentagon width: 17cm, Pointed rectangles height: 12.5cm, Pointed rectangles width: 6cm, Kite height: 8.3cm, Kite width: 4.8cm, Board length: 76.5cm, Board width: 54.8cm
Kütüphane:	Victoria and Albert Museum
Demirbaş Numarası	1525:1-1871
Kayıt Numarası	1525:1-1871
Lokasyon	Middle East Section
Tarih	1300
Notlar	This group of panels is formed from multiple sets of plaques, each probably intended to be inserted into a larger geometrical composition adorning a door of a minbar (religious pulpit). The sets of ivory panels were carved during the late fourteenth or early fifteenth century, and reflect the same skill and pattern as seen on wooden examples. The two levels of relief carving with articulated strapwork patterning appear on examples commonly dated to the late thirteenth century, as seen on the Lajin panels dated to 1296 (V&A: 1051-1869). The appearance of this style upon ivory panels, however, is often associated with slightly later production, when large carved ivory panels came into fashion as a decorative style. The reasons for this shift from wood to ivory remain unknown. The second decorative technique of panels represent a later period of Egyptian inlay work. The use of uncarved ivory and wooden panels set within a geometric pattern is typically associated with the work of Egyptian woodworkers of the late Burji Mamluk and early Ottoman period from the sixteenth and seventeenth centuries. Unlike the delicately carved panels of the earlier Mamluks, later woodworkers adopted the tradition of intarsia (inlaid) work, which embraced bold forms of contrasting colours achieved through the use of ebony and either bone or ivory. The epistemological root of the word intarsia derives from âtarsiâ, the Arabic word for incrustation. This type of decoration witnessed a long and distinguished history in al-Andalus (southern Spain) from the tenth century, as seen with the minbar of al-Hakim II commissioned for the Great Mosque of Cordoba; from there the technique is believed to have spread north into Italy, and then possibly east into Mamluk Egypt. While this intricate and detailed decorative technique became a characteristic of Nasrid woodwork of southern Spain, it remains unknown exactly how and when this pattern arrived into Egypt; given the popularity of bone and ivory inlay work seen in Ottoman objects from the sixteenth century, the technique could have also arrived through Ottoman craftsmen sometime after 1517. Nonetheless, this type of inlay or marquetry work becomes the dominant style of wood decoration from the sixteenth century, replacing almost entirely the carving techniques of the earlier Mamluk woodcarvers.
İlişki	Greville John Chester
Malzemeler ve teknikler	Carved wood with ivory and wood inlay
Parçalar	Fragments, Panel Fragment
Fiziksel açıklama	This object is a selection of thirty-one panels of varying size, decoration and technique mounted onto a wooden board. The six panels on the top are carved from ivory plaques mounted into wooden frames; their decoration consists scrolling arabesques terminating in palmettes and split leaves carved in double relief. The central eight hexagonal shaped panels are carved in ivory with a foliated lobed scrollwork pattern set within an intarsia border, and are accompanied by another octagonal shaped panel of similar patterning. Three hexagonal shaped panels decorated with solid bone and intarsia borders; three rhomboid shaped panels with carved wooden centres decorated with foliated scrolls set within fine bone borders; a single rectangular wooden panel with carved strapwork in double relief; and eight small carved wooden fragments comprise the remaining panels.

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

Victoria and Albert Museum

Fragment

Basım Tarihi 1300

Basım Yeri Egypt (made) Cairo (made) -

Konu Africa Woodwork

Tür Diğer

Dil Belirlenmemiş dil

Dijital Evet

Yazma Hayır

Fiziksel Boyutlar Trapezoid height: 13cm, Trapezoid width: 8cm, Double pentagon height: 8.5cm, Double pentagon width: 17cm, Pointed rectangles height: 12.5cm, Pointed rectangles width: 6cm, Kite height: 8.3cm, Kite width: 4.8cm, Board length: 76.5cm, Board width: 54.8cm

Kütüphane Victoria and Albert Museum

Demirbaş Numarası 1525:1-1871

Kayıt Numarası 1525:1-1871

Lokasyon Middle East Section

Tarih 1300

Notlar This group of panels is formed from multiple sets of plaques, each probably intended to be inserted into a larger geometrical composition adorning a door of a minbar (religious pulpit). The sets of ivory panels were carved during the late fourteenth or early fifteenth century, and reflect the same skill and pattern as seen on wooden examples. The two levels of relief carving with articulated strapwork patterning appear on examples commonly dated to the late thirteenth century, as seen on the Lajin panels dated to 1296 (V&A: 1051-1869). The appearance of this style upon ivory panels, however, is often associated with slightly later production, when large carved ivory panels came into fashion as a decorative style. The reasons for this shift from wood to ivory remain unknown. The second decorative technique of panels represent a later period of Egyptian inlay work. The use of uncarved ivory and wooden panels set within a geometric pattern is typically associated with the work of Egyptian woodworkers of the late Burji Mamluk and early Ottoman period from the sixteenth and seventeenth centuries. Unlike the delicately carved panels of the earlier Mamluks, later woodworkers adopted the tradition of intarsia (inlaid) work, which embraced bold forms of contrasting colours achieved through the use of ebony and either bone or ivory. The epistemological root of the word intarsia derives from âtarsiâ, the Arabic word for incrustation. This type of decoration witnessed a long and distinguished history in al-Andalus (southern Spain) from the tenth century, as seen with the minbar of al-Hakim II commissioned for the Great Mosque of Cordoba; from there the technique is believed to have spread north into Italy, and then possibly east into Mamluk Egypt. While this intricate and detailed decorative technique became a characteristic of Nasrid woodwork of southern Spain, it remains unknown exactly how and when this pattern arrived into Egypt; given the popularity of bone and ivory inlay work seen in Ottoman objects from the sixteenth century, the technique could have also arrived through Ottoman craftsmen sometime after 1517. Nonetheless, this type of inlay or marquetry work becomes the dominant style of wood decoration from the sixteenth century, replacing almost entirely the carving techniques of the earlier Mamluk woodcarvers.

İlişki Greville John Chester

Malzemeler ve teknikler Carved wood with ivory and wood inlay

Parçalar Fragments, Panel Fragment

Fiziksel açıklama This object is a selection of thirty-one panels of varying size, decoration and technique mounted onto a wooden board. The six panels on the top are carved from ivory plaques mounted into wooden frames; their decoration consists scrolling arabesques terminating in palmettes and split leaves carved in double relief. The central eight hexagonal shaped panels are carved in ivory with a foliated lobed scrollwork pattern set within an intarsia border, and are accompanied by another octagonal shaped panel of similar patterning. Three hexagonal shaped panels decorated with solid bone and intarsia borders; three rhomboid shaped panels with carved wooden centres decorated with foliated scrolls set within fine bone borders; a single rectangular wooden panel with carved strapwork in double relief; and eight small carved wooden fragments comprise the remaining panels.