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Imperial Architecture and Urban Experience in Aleppo in the 16th and 17th Centuries
This urban and architectural study of Aleppo, a center of early modern global trade, draws upon archival and narrative texts, architectural evidence, and contemporary theoretical discussions of the relation between imperial ideology, urban patterns and rituals, and architectural form. The first two centuries of Ottoman rule fostered tremendous urban development and reorientation through judiciously sited acts of patronage. Monumental structures endowed by Ottoman officials both introduced a new imperial architecture from Istanbul and incorporated formal elements from the local urban visual language. By viewing the urban and social contexts of these acts, tracing their evolution over two centuries, and examining their discussion in Ottoman and Arabic sources, this book proposes a new model for understanding the local reception and adaptation of imperial forms, institutions and norms.
Author: Laura U. Marks

ceramics on the Iberian Peninsula and in the western Mediterranean basin. I examine how Andalusian ceramics engage haptic space and abstract line, how Christian clients took up these designs, and how, in Spanish and Italian adaptations, haptic space and abstract line gradually deepened out and thickened up

In: Muqarnas Online


The Kutubiyya Mosque, the hallmark monument of the Almohad dynasty (1121–1269) in their capital city of Marrakesh, has resisted scholarly interpretation due to its unique plan, featuring two prayer halls wedged apart by the monumental minaret. The south-facing qibla and the architectural use of a prior dynasty’s palatial remains further complicate the narrative surrounding the function of the mosque within the urban fabric and the Almohads’ dynastic self-concept. This article argues that such idiosyncrasies are indicative of the Almohads’ sensitivity to the intellectual, religious, and legal arguments of the day, expressed through a deliberate adaptation or repudiation of the architectural precedents in the Islamic West. The Kutubiyya must be understood as a monumental record of the dynastic shifts in ideology and identity as the Almohads struggled to define themselves against their predecessors and competitors. The site’s unique plan and complex construction history are the physical evidence of this struggle, which makes the role of the Kutubiyya in the urban history of Marrakesh all the more significant.

In: Muqarnas Online
Author: Eva R. Hoffman

sphere can be located within a more widespread adaptation of late-antique forms and vocabulary in Fatimid art, and can be found, in particular, in other Fatimid works related to the nude. 29 The pose, figural types, and drapery of the Fatimid ivory panels in the Bargello Museum, Florence (fig. 4), for

In: Muqarnas Online
Author: Friederike Weis

images on facing pages has remained largely unexplored. 62 Thus, the sub-theme of the corpus of Chinese paintings included in the album deserves closer attention here. 63 To begin, I will summarize pre-Safavid adoptions and adaptations of Chinese forms in Persianate painting and briefly review the

In: Muqarnas Online
Author: Avinoam Shalem

expression on the face allow for better vision and breathing and involve essential behaviors and adaptations favoring survival. Astonishment is, according to Onians, “a fundamental adaptation which enhances the likelihood of survival.” And he continues, “The most obvious situations in which survival is at

In: Muqarnas Online

really function—and how were they adapted to Venetian needs and tastes? What were the limits of this adaptation? This essay explores these questions through a close reading of Venetian, Arabic, and other sources and through an investigation of ar­chitectural and urban traces. The portrait of Venetian

In: Muqarnas Online
Author: Adam Jasienski

of King Matthias Corvinus (r. 1458–90), whose adaptation of Ottoman vestiary customs will 
be discussed below. 31 In Martin Kober’s 1583 portrait, the Polish king ­Bathory sports what would become the definitive set of Ottomanizing garments in much of East-Central Europe: a voluminous red kontusz

In: Muqarnas Online

item or a contemporary Byzantine adaptation has not been definitively established. See Maria Parani, Reconstructing the Reality of Images: Byzantine Material Culture and Religious Iconography (11th–15th Centuries) (Leiden and Boston: Brill, 2003), 70, 89, 232, and pl. 60. Its foreignness is by no

In: Muqarnas Online
Author: John Seyller

before an aged man with a book, perhaps a loose adaptation of St. Luke painting the Virgin (fig. 12). 15 The woman’s left knee pro- trudes, and her robe wraps about her torso and bil- lows up behind her head, but the overall effect seems more contrived than convincing, an impression re- inforced by the

In: Muqarnas Online