Tag Archives: Islamic Art

Funding: I.M. Pei Graduate Scholarship in Islamic Art and Architecture (Oxford)

The Khalili Research Centre (University of Oxford) is offering a fully-funded graduate scholarship from the beginning of the academic year 2019–2020 for a student undertaking either doctoral research or a combined four-year programme consisting of a Master’s course proceeding to a D.Phil.

The Scholarship is awarded on the basis of academic merit and potential. The Scholarship will cover full course fees, and maintenance costs equivalent to the U.K. national minimum doctoral stipend. Applicants should first consult the Further Particulars that may be downloaded here.

Applicants, whether internal or external, should then apply to the University under the standard procedures for graduate degrees. The University’s application procedures are described at http://www.ox.ac.uk/admissions/graduate. Applications should be made on-line (www.graduate.ox.ac.uk/applyonline) and submitted before 12:00 noon on Friday 11 January 2019.

Applicants to the M.St., M.Phil. or D.Phil in Islamic Art and Archaeology at the Khalili Research Centre may also be considered for other fully-funded scholarships. For further details, please visit: https://krc.web.ox.ac.uk/article/courses

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New Online Resource: Collection of the Museum für Islamische Kunst in Berlin

Screenshot 2018-05-29 11.55.13The Museum für Islamische Kunst in Berlin now provides access to more than 11.000 objects online on its website. This is a fundamental milestone in the accessibility of the museum collection and would not have been possible without the generosity of Yousef Jameel, Hon. LHD, a private supporter of the arts, education, and research.

Between 2012 and 2017 a special project team of art historians, archaeologists, photographers and conservators helped permanent museum staff to record, document and photograph large parts of the museum’s collection. They compiled important information about the objects including their dating, provenance, materials, and techniques.

After the successful conclusion of the project last year, a huge selection of object information is now available online, which also includes photographs of entire works and details. The selection includes most of the museum’s famous carpets, three hundred examples of its little-published textiles, and representative artworks from the ceramic, glass and metalwork and the ivory collection.

Screenshot 2018-05-29 11.57.21To see the museum’s collection, follow this link and select ‘Museum für Islamische Kunst’ from the museum list on the left. You can also click here for a selection of highlights from the museum, here for the whole collection, and here for objects connected to Spain. Clicking on Advanced Search will enables visitors to search according to date, material, object/term and geographical reference. Once you have selected an object of interest, don’t forget to click on ‘Multimedia’ below the object’s lead image to visualise a portfolio of photographs of different views and details.

 

CFP: Islamic Art – Mudejar Art (Cordoba, 18-20 November 2016)

2016-03-CasaArabe

CFP: Islamic Art – Mudejar Art (Córdoba, Casa Arabe, 18-20 November 2016)

Deadline: 30 April 2016

Artistic Dialogue during the Middle Ages. Islamic Art – Mudéjar Art International Conference
Casa Arabe, Córdoba

Organized by: Prof. Dr. Alberto León (Universidad de Córdoba), Prof. Dr. Francine Giese (Universität Zürich)

The research about Spain’s medieval cultural heritage has experienced a great development in the last centuries. With the reassessment of the legacy of al-Andalus and of the Reign of Castile and Aragon during the nineteenth century, the historiography focusing especially on cultural connections and disconnections has grown extensively. Concepts like Reconquista, Convivencia and Mudéjar Art, are being interpreted as the result of Spain’s nineteenth century’s particular socio-political interests, related to the debate about national identity, religious intolerance and to an evolutionist conception of history. The special political and cultural reality of the Peninsula and its Middle Ages as a geographical and temporal frame of cultural coexistence, pluralism and heterogeneity has been controversially debated since that time. At present, we assist to a critical revision and to an intense debate on those inherited concepts. While the traditional historiography had delineated several political, religious and artistic frontiers, new conceptions of the medieval reality arise that interpret those frontiers as being permeable and dynamic. This perspective leads to the consideration of an artistic dialogue as the basis of shared vocabularies. Such a dialogue will be the common thread of the present conference: we intend to analyze, share and spread recent results and new research projects on the Islamic and Mudéjar past of the Peninsula. The conference will constitute a platform for novel lines of investigation contributing to the debate on the artistic dialogue of the medieval Iberian Peninsula. The following sections and themes are planned: – Nineteenth century’s historiography: the reassessment of the Islamic and Mudéjar past – Islamic and Mudéjar urbanism – Architectural reuse – The twelfth century: dialogue or confrontation? – The Iberian Peninsula and Europe: cultural connections – Al-Andalus and the three cultures Each presentation will be of 20 minutes, and may be given in Spanish or English. Please submit a proposal of maximum 300 words and a brief curriculum vitae by the 15th of April to the following e-mail address: conference@transculturalstudies.ch

Call for Papers: Spain and Orientalism in the nineteenth and twentieth centuries – Association of Art Historians conference (Edinburgh, 7-9 April 2016)

Jones - AlhambraSpain represents a unique and fertile context in which to explore attitudes to the art and culture of the Islamic world. Spain was routinely ‘orientalised’ by northern European cultures in the 19th century, as foreign visitors indulged in oriental reveries when reflecting on Spain’s Islamic past (711–1492) and admiring its ‘Moorish’ remains at the Alhambra palace in Granada, the mosque/cathedral in Cordoba, or the Giralda in Seville. For the Spaniard, however, this Islamic heritage raised potentially disorientating questions about cultural roots and national identity. Spanish attitudes to the Islamic past were further complicated by Spain’s ambivalent relations with the Islamic present in Morocco, ranging from war and conflict (1859–60) to Franco’s recruitment of Moroccans at the start of the Spanish Civil War.

This session builds on recent research by historians of art, literature and culture, whose work has revealed that the European discourse on the Islamic world is much more polyphonic than traditional postcolonial theory assumed. The session invites papers that examine 19th- and 20-century visual responses to Spain’s Islamic past and Spain’s nearest ‘Orient’, Morocco, by both Spanish and non-Spanish artists across all media (architecture, fine art, illustrated books, photography, film, fashion etc.). How did artists translate Spain’s Islamic world into visual formats? How was such imagery produced, viewed, and marketed? What were the artistic, ideological, political, and social positions on which visual responses were grounded? How important were they in the formation of broader attitudes to the Islamic world?

Email proposals for papers to the convenors Claudia Hopkins and Anna McSweeney by 9 November 2015. You can download a paper proposal form at http://www.aah.org.uk/annual-conference/sessions2016/session21

Anna McSweeney : “Arthur von Gwinner and the Alhambra cupola in Berlin”, 7 May 2015

2015-01-SOAS
RESEARCH SEMINAR IN ISLAMIC ART
Department of the History of Art & Archaeology
SOAS, University of London

Anna McSweeney on “Arthur von Gwinner and the Alhambra Cupola in Berlin
Thursday 7 May 2015
5.30pm in Room B111 (Brunei Building)

2015-05-Alhambra_Kuppel_SMB_FriedrichAbstract: One of the jewels in the collection of the Museum für Islamische Kunst in Berlin is the so-called Alhambra cupola, a fourteenth-century wooden ceiling that once was part of the famous Islamic palace in Granada, Spain. Made from hundreds of pieces of intricately carved and painted wood, it is one of the earliest and finest surviving Nasrid ceilings. This paper will explore how the cupola ended up in Berlin, brought there in 1891 by the highly cultured German financier Arthur von Gwinner (1856-1931), who so fell for the charms of the Alhambra palace that he wanted a piece of it for himself. Why did he want it, how did he get hold of it, and what did he do with it once he had it? These are questions that will be addressed in this research seminar. (Poster is attached).