Aramaya Dön

Panel

İsim	Panel
Yazar	Unknown
Basım Tarihi:	1300
Basım Yeri	Spain (made) Toledo (city) (made, probably) -
Konu	Woodwork Architecture
Tür	Diğer
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Hayır
Fiziksel Boyutlar	Height: 28.5cm, Width: 287cm, Thickness: 6cm
Kütüphane:	Victoria and Albert Museum
Demirbaş Numarası	W.30-1982
Kayıt Numarası	W.30-1982
Lokasyon	Middle East Section
Tarih	1300
Notlar	The following excerpt is from Mariam Rosser-Owen, Islamic Arts from Spain (V&A Publication, 2010), p. 81: Toledo had been absorbed into Castile in 1085, and had therefore had a Mudejar community for about 150 years by Alfonsoâs time, but during the early thirteenth century, new Islamic style began to be imported from the Almohade territory which Castile was then conquering. This was a great century for Toledan Mudejar. Arabic inscriptions were characteristic of the Mudejar architecture of Toledo, but apart from these painted instances they tended to be written in the Kufic script, since the use of cursive writing in inscriptions only evolved in Islamic lands in the twelfth century, after Toledo was conquered by Castile. Toledoâs craftsmen were therefore isolated from this new development in the Islamic world, and the continued use of Kufic in Toledo comes to seem rather archaic. The inscriptions continue to be legible, indicating that Arabic-speakers were involved in their creation. Kufic inscriptions were frequently painted or carved on to wooden friezes, which ran below ceilings and usually contained a standard vocabulary of Arabic wishes for well-being.
Malzemeler ve teknikler	Carved pine wood, covered with gesso and painted Pine Carving
Fiziksel açıklama	Long rectangular panel made of carved pine wood, decorated with a horizontal composition of a single, repeated Arabic inscription written in the Kufic script; the tops of the letters are decorated with foliated scrolls. A thin geometric band runs along the top of the panel, which is which is painted in black. Traces of black and red pigments remain.

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

Victoria and Albert Museum

Panel

Yazar Unknown

Basım Tarihi 1300

Basım Yeri Spain (made) Toledo (city) (made, probably) -

Konu Woodwork Architecture

Tür Diğer

Dil Belirlenmemiş dil

Dijital Evet

Yazma Hayır

Fiziksel Boyutlar Height: 28.5cm, Width: 287cm, Thickness: 6cm

Kütüphane Victoria and Albert Museum

Demirbaş Numarası W.30-1982

Kayıt Numarası W.30-1982

Lokasyon Middle East Section

Tarih 1300

Notlar The following excerpt is from Mariam Rosser-Owen, Islamic Arts from Spain (V&A Publication, 2010), p. 81: Toledo had been absorbed into Castile in 1085, and had therefore had a Mudejar community for about 150 years by Alfonsoâs time, but during the early thirteenth century, new Islamic style began to be imported from the Almohade territory which Castile was then conquering. This was a great century for Toledan Mudejar. Arabic inscriptions were characteristic of the Mudejar architecture of Toledo, but apart from these painted instances they tended to be written in the Kufic script, since the use of cursive writing in inscriptions only evolved in Islamic lands in the twelfth century, after Toledo was conquered by Castile. Toledoâs craftsmen were therefore isolated from this new development in the Islamic world, and the continued use of Kufic in Toledo comes to seem rather archaic. The inscriptions continue to be legible, indicating that Arabic-speakers were involved in their creation. Kufic inscriptions were frequently painted or carved on to wooden friezes, which ran below ceilings and usually contained a standard vocabulary of Arabic wishes for well-being.

Malzemeler ve teknikler Carved pine wood, covered with gesso and painted Pine Carving

Fiziksel açıklama Long rectangular panel made of carved pine wood, decorated with a horizontal composition of a single, repeated Arabic inscription written in the Kufic script; the tops of the letters are decorated with foliated scrolls. A thin geometric band runs along the top of the panel, which is which is painted in black. Traces of black and red pigments remain.