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Author: Deniz Beyazıt

linear perspective was not inspired by European engravings or other models depicting the site of Mecca, as one might expect. Rather, the work is the result of the long, complex, and hybrid journey of Ottoman art towards realism, applied to a large-scale topographic landscape composition. This new

In: Muqarnas Online
Author: Suna Çağaptay

Gazi, and Murad I in Bursa, and Hacı Özbek (1333) in Iznik. This architectural style has been identified as both “hybrid” and “semi-Byzantine,” 8 but oftentimes comparisons between Byzantine and Otto- man buildings fail to go beyond a discussion of super- ficial similarities, such as the development of

In: Muqarnas Online

surprisingly, introductions to world art history. Their cultural hybridity disqualifies them from histories that identify linear chronological development within a well-defined context. These are problems that occur not for reasons intrinsic to the works themselves but because of the way that geographical and

In: Muqarnas Online

adapt foreign, and especially Islamic, elements in order to produce meaning specific to Byzantine culture. 47 For example, a famous secular object—a tenth-century glass bowl in the Treasury of San Marco—could mix classicizing iconography and Islamicizing ornament in order to allude to the hybrid origin

In: Muqarnas Online
Author: Conrad Thake

also very loosely applied, to imply a hybrid style derived from a generic view of Islamic architecture, based primarily on regions of Spain and North Africa under Muslim influence. 51 Both terms have their shortcomings as they are not sensitive to the rich cultural diversity manifested in Islamic

In: Muqarnas Online
Author: Kishwar Rizvi

. 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

one on top of the pole. Variations of this form can be found at shrines throughout the Punjab. Hybrid forms combine the ʿalam shape, even marked by a flag, with either tree-like floral ornaments or little gable-roofed lamp houses (for instance, in Sindh). Lampstands in the form of miniature Shiʿi

In: Muqarnas Online
Author: Olga Bush

, 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
Author: Melis Taner

frontier 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

In: Muqarnas Online
Author: Amy S. Landau

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