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. It is thus a reminder of the mul- tiplicity of narratives embedded in public institutions, whose architectural manifestations are often a hybrid incorporating the lived and imagined histories of their patrons. The first part of this essay situates the tomb in its political and cultural context within

In: Muqarnas Online

originated in popular literary forms such as renga 連歌, linked poetry, and was subsequently adopted in the visual arts) and mitate 見立 (a form of visual simile by which Chinese and Japanese cultural references are invoked to comment on contemporaneous figures and situations). This hybrid playfulness is a

In: Journal of Japonisme

, or to represent the alternative continuity of a hybrid identity? The opposing views on the historiography of medieval Muslim Spain expressed on the occasion of the inauguration recall the terms of a debate initiated in the 1950s by Spanish historians that has continued to influence the views of

In: Muqarnas Online

. These other media encouraged collaborative enterprises and hybrid styles that allowed for formal experimentation. I propose that the ceramic arts, having multiple authors and functions, became a laboratory for negotiating a common denominator for new trends set by artists and cultural entrepreneurs

In: Journal of Japonisme

first sight bear no resemblance to the Japanese prints highlighted in the exhibition. Viking ships and polar bears firmly place Daughters of the Northern Light (1889) in an ancient, mystical north. In a playful furniture set, a hybrid dragon creature devours the chair upon which it is carved, a rustic

In: Journal of Japonisme

province between the Ottomans and the Safavids, Baghdad stands out for its hybridity. In the early modern period, the Ottomans, Safavids, and Mughals purposefully formulated their imperial identity through distinctive architecture, painting, decoration, and objects. At a point when the three rival empires

In: Muqarnas Online

is, I can remember our costliest gardens at home only as ignorant displays of what wealth can accomplish in the creation of incongruities that violate nature. 30 
 Considering Hearn’s commentary as a backdrop to Bradstreet’s undertakings at the Craftshouse provides useful insight into the hybrid

In: Journal of Japonisme

Igbo identity would be positively exploited by the Igbo themselves in the post-hybridity phase of Igbo cultural development. Igbo heritage and culture should be viewed as a living agency that can fertilize the present, not as a shrivelled commodity to revive and exploit. Therefore, what is advocated

In: Utafiti

way to signify core themes, values, and beliefs of Safavid society in arts of the book: artists used it to depict scenes from Persian literature and religious history and notions of royal power and authority, as well as erotic and Neo-Platonic ideas of love. This “hybrid” mode realized by local art

In: Muqarnas Online

creation of a hybrid object like the Kościelec chasuble, which embodies the labor of both the Ottoman weaver and the Polish tailor, must also be read as a polysemic act with varying political, religious, aesthetic, and cultural connotations. The beauty of the textile’s design, with the contrast of

In: Muqarnas Online