Search Results

You are looking at 1 - 10 of 15 items for :

  • All: "hybridity" x
  • Archaeology, Art & Architecture x
Clear All

Nikolaos Vryzidis

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 of divination, at least as it was understood by the Byzantines, as both ancient Greek and contemporary Islamic. 48 To

Finbarr Barry Flood

-era monuments and reached a crescendo in the fifteenth- and early sixteenth-century architecture of the Indus Valley, Delhi, and Malwa. 159 Whether one chooses to describe these phenomena in terms of homology, hybridity, syncretism, or synthesis, the basic point is clear: in its engagement with both regional

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

D. Fairchild Ruggles

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

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

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

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

Melis Taner

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

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

Adam Jasienski

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