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Door panel

İsim	Door panel
Yazar	Unknown (made)
Basım Tarihi:	1296
Basım Yeri	Egypt (made) Cairo (made) -
Konu	Woodwork Africa Architectural Fittings Islam
Tür	Diğer
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Hayır
Fiziksel Boyutlar	Height: 264.2cm, Width: 265.4cm (Note: Measurement taken from âList of Objects in the Art Division, South Kensington Museum acquired during the Year 1884â. London: Eyre and Spottiswoode, 1885. p. 84)
Kütüphane:	Victoria and Albert Museum
Demirbaş Numarası	891-1884
Kayıt Numarası	891-1884
Lokasyon	Middle East Section
Tarih	1296
Notlar	The panels decorating this door are believed to have once adorned the surface of a minbar commissioned by Sultan Lajin (d. 1299 A.D). The minbar was built in 1296 A.D and placed in the ninth century Mosque of Ibn Tulun. As a Mamluk officer, Lajin used the dilapidated mosque for shelter during a period of civil unrest, as he hid from his political enemies. He vowed that if he survived, he would repay the mosque by repairing it to its former glory. These minbar panels are an example of his vow. The Lajin panels are important examples of early Mamluk woodcarving, as they attest to the skill and creativity of early Mamluk carpentry. According to Stanley Lane-Poole (1854 â 1931 A.D.) in his book The Art of the Saracens in Egypt, the Lajin minbar panels were exceptional examples of carving skill and creativity; the panels represent the peak of Mamluk minbar design. This craftsmanship was later appreciated by Europeans residing in Cairo, who re purposed Mamluk period panels and plaques into new compositions and frames. This door panel represents such a composite. The salvaging of older Mamluk wood and ivory panels and their re purposing within later architectural structures was a common trend in Egypt during the time of the French influence, starting under Napoleon III yet continuing in increasing numbers towards the end of the 19th century. The French were particularly interested in re purposing architectural elements (panels, doors and plaques) â some taken directly from minbars (Islamic pulpits) and others from architectural decorations in mosques and madrasas â to serve as decorative fittings within their Neo-Mamluk homes built in central Cairo. Doors such as these were common during the second half of the 19th century, especially at a time when much of old historic Cairo was being transformed and modernised. This, coupled with the increasing trend for Islamic designs, motivated European residents in Cairo to utilize such pieces within their newly designed homes. When entire structures could not be re purposed (such as minbar doors), a selection of diverse panels would have been used, with ânewerâ plaques made to fill in the missing pieces within the geometric composition. As such, composite panels present a combination of styles, techniques and dates, some of which are today difficult to decipher, as the craftsmanship of late 19th century carvers cleverly (and quite convincingly) imitated their earlier Mamluk masters. Indeed, this particular door panel has both Mamluk and later 19th century additions, even though its wooden frame is indisputably of the 19th century. This panel is believed to have come from the home of the French Count Gaston Saint Maurice, built between 1860-1878. It was later displayed at the 1878 Exposition Universelle in Paris before being acquired by the V&A
İlişki	Paris International Exhibition, 1878 Gaston De Saint-Maurice
Malzemeler ve teknikler	Carved ivory and ebony plaques; wooden frame Wood
Fiziksel açıklama	This door is a composite of different wooden and ivory carved panels taken from Lajn's minbar (pulpit) from the mosque of Ibn-TÃºlÃºn, and later assembled into a 19th century door frame. The panels represent a combination of carving techniques and styles, including ivory and ebony plaques decorated with a foliated scrollwork motif, set within a thin band of ivory or bone inlay. The frame and support both date to the second half of the 19th century. A comparable example is now in the National Museum of Ireland, Dublin, inv.no.1884.247.

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

Victoria and Albert Museum

Door panel

Yazar Unknown (made)

Basım Tarihi 1296

Basım Yeri Egypt (made) Cairo (made) -

Konu Woodwork Africa Architectural Fittings Islam

Tür Diğer

Dil Belirlenmemiş dil

Dijital Evet

Yazma Hayır

Fiziksel Boyutlar Height: 264.2cm, Width: 265.4cm (Note: Measurement taken from âList of Objects in the Art Division, South Kensington Museum acquired during the Year 1884â. London: Eyre and Spottiswoode, 1885. p. 84)

Kütüphane Victoria and Albert Museum

Demirbaş Numarası 891-1884

Kayıt Numarası 891-1884

Lokasyon Middle East Section

Tarih 1296

Notlar The panels decorating this door are believed to have once adorned the surface of a minbar commissioned by Sultan Lajin (d. 1299 A.D). The minbar was built in 1296 A.D and placed in the ninth century Mosque of Ibn Tulun. As a Mamluk officer, Lajin used the dilapidated mosque for shelter during a period of civil unrest, as he hid from his political enemies. He vowed that if he survived, he would repay the mosque by repairing it to its former glory. These minbar panels are an example of his vow. The Lajin panels are important examples of early Mamluk woodcarving, as they attest to the skill and creativity of early Mamluk carpentry. According to Stanley Lane-Poole (1854 â 1931 A.D.) in his book The Art of the Saracens in Egypt, the Lajin minbar panels were exceptional examples of carving skill and creativity; the panels represent the peak of Mamluk minbar design. This craftsmanship was later appreciated by Europeans residing in Cairo, who re purposed Mamluk period panels and plaques into new compositions and frames. This door panel represents such a composite. The salvaging of older Mamluk wood and ivory panels and their re purposing within later architectural structures was a common trend in Egypt during the time of the French influence, starting under Napoleon III yet continuing in increasing numbers towards the end of the 19th century. The French were particularly interested in re purposing architectural elements (panels, doors and plaques) â some taken directly from minbars (Islamic pulpits) and others from architectural decorations in mosques and madrasas â to serve as decorative fittings within their Neo-Mamluk homes built in central Cairo. Doors such as these were common during the second half of the 19th century, especially at a time when much of old historic Cairo was being transformed and modernised. This, coupled with the increasing trend for Islamic designs, motivated European residents in Cairo to utilize such pieces within their newly designed homes. When entire structures could not be re purposed (such as minbar doors), a selection of diverse panels would have been used, with ânewerâ plaques made to fill in the missing pieces within the geometric composition. As such, composite panels present a combination of styles, techniques and dates, some of which are today difficult to decipher, as the craftsmanship of late 19th century carvers cleverly (and quite convincingly) imitated their earlier Mamluk masters. Indeed, this particular door panel has both Mamluk and later 19th century additions, even though its wooden frame is indisputably of the 19th century. This panel is believed to have come from the home of the French Count Gaston Saint Maurice, built between 1860-1878. It was later displayed at the 1878 Exposition Universelle in Paris before being acquired by the V&A

İlişki Paris International Exhibition, 1878 Gaston De Saint-Maurice

Malzemeler ve teknikler Carved ivory and ebony plaques; wooden frame Wood

Fiziksel açıklama This door is a composite of different wooden and ivory carved panels taken from Lajn's minbar (pulpit) from the mosque of Ibn-TÃºlÃºn, and later assembled into a 19th century door frame. The panels represent a combination of carving techniques and styles, including ivory and ebony plaques decorated with a foliated scrollwork motif, set within a thin band of ivory or bone inlay. The frame and support both date to the second half of the 19th century. A comparable example is now in the National Museum of Ireland, Dublin, inv.no.1884.247.