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"Behrens-Abouseif, Doris"
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The book in Mamluk Egypt and Syria (1250-1517) : scribes, libraries and market
This book is the first to date to be dedicated to the circulation of the book as a commodity in the Mamluk sultanate. It discusses the impact of princely patronage on the production of books, the formation and management of libraries in religious institutions, their size and their physical setting. It documents the significance of private collections and their interaction with institutional libraries and the role of charitable endowments (waqf) in the life of libraries. The market as a venue of intellectual and commercial exchanges and a production centre is explored with references to prices and fees. The social and professional background of scribes and calligraphers occupies a major place in this study, which also documents the chain of master-calligraphers over the entire Mamluk period. For her study the author relies on biographical dictionaries, chronicles, waqf documents and manuscripts.
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Craftsmen, upstarts and Sufis in the late Mamluk period
This article explores the careers of craftsmen and other commoners, who succeeded in joining the bureaucratic system and occupying high positions in the Mamluk administrative establishment, eventually acquiring great power and even political authority. At the same time Sufi shaykhs, also men of common origin and beneficiaries of Mamluk philanthropy, emerged as mighty and authoritative figures, venerated equally by the aristocracy and the populace. The newly privileged groups also figure as founders of Friday mosques following a flexible new attitude on the part of the authorities. This social fluidity, often criticized by historians of the period, was the result of the pious patronage of the Mamluk aristocracy, which brought academic education to the reach of a large part of the populace. Towards the end of the Mamluk period, the structure of religious institutions had itself been levelled: the Friday mosque with Sufi service replaced the earlier madrasas and khanqāhs. The article also discusses how the visual arts of the period mirror the social changes with new aspects of artistic patronage.
Journal Article
Metalwork from the Arab world and the Mediterranean
This volume presents vessels, fittings and other objects made in Syria, Egypt, Iraq and Yemen from the early Islamic period through to the end of the Ottoman era in the 19th century. The pieces include exquisite platters, serving-vessels, candlesticks and pen-boxes produced for royal courts, but also many beautifully decorated bronze domestic items, such as bowls, lunch-boxes, door-knockers, buckets and lamps.0 0he metalwork traditions in this book reflect the complex history of the Arab world following the advent of Islam. The collection starts in the Late Antique period, which informed the early Islamic royal styles of the Umayyad, Abbasid and Fatimid dynasties, and goes on to trace the emergence of Mosul as a centre for metalwork in the 12th-13th centuries; the courtly Mamluk style during the Bahri period (1250-1380s); the Circassian era (1380s-1517); the growth of the European export market from the 15th century; distinctive vernacular styles in Yemen during the 14th-16th centuries; and the many revivals and fusions of international styles over six centuries of Ottoman rule (1517-1900s). Finally, an enigmatic group of zoomorphic fittings that defies easy dating is celebrated for the craftsmanship and charm of its animal figures. 00This beautifully illustrated volume features many important unpublished pieces and is essential reading for specialists, but it will fascinate and inform anyone with an interest in Islamic culture and history, metalwork and the decorative arts of the Arab world.
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Islamic art in the 19th century : tradition, innovation, and eclecticism
\"This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art.\" -- excerpt from page 4 of cover.
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