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Muqarnas is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.
Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century. Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century.
Award-winning historian Zachary Karabell tells the epic story of the greatest engineering feat of the nineteenth century--the building of the Suez Canal-- and shows how it changed the world. The dream was a waterway that would unite the East and the West, and the ambitious, energetic French diplomat and entrepreneur Ferdinand de Lesseps was the mastermind behind the project. Lesseps saw the project through fifteen years of financial challenges, technical obstacles, and political intrigues. He convinced ordinary French citizens to invest their money, and he won the backing of Napoleon III and of Egypt's prince Muhammad Said. But the triumph was far from perfect: the construction relied heavily on forced labor and technical and diplomatic obstacles constantly threatened completion. The inauguration in 1869 captured the imagination of the world. The Suez Canal was heralded as a symbol of progress that would unite nations, but its legacy is mixed. Parting the Desert is both a transporting narrative and a meditation on the origins of the modern Middle East.
Muqarnas is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.
The material and intellectual presence of Egypt is at the heart of Western culture, religion and art from Antiquity to the present. This volume aims to provide a long term and interdisciplinary perspective on Egypt and its mnemohistory, taking theories on objects and their agency as its main point of departure. The central questions the book addresses are why, from the first millennium BC onwards, things and concepts Egyptian are to be found in such a great variety of places throughout European history and how we can account for their enduring impact over time. By taking a radically object-oriented perspective on this question, this book is also a major contribution to current debates on the agency of artefacts across archaeology, anthropology and art history.
The Yenidze Cigarette Factory of 1909 became perceived as an industrial architectural advertising object that placed Dresden as an important center for the tobacco trade during the second half of the nineteenth century. Born from a unique client-architect relationship between Hugo Zietz and Martin Hammitzch, the factory’s importance to the modernist has been extremely understated. Smoke and Mirrors uncovers the history of the factory’s planning, design and construction, and for the first time, apart from the building’s historical narrative, places the addition to the Dresden skyline as consideration to the formative histories of the modernist movement.
In this beautifully illustrated and closely argued book, a completely updated and much expanded third edition of his magisterial survey, Curl describes in lively and stimulating prose the numerous revivals of the Egyptian style from Antiquity to the present day. Drawing on a wealth of sources, his pioneering and definitive work analyzes the remarkable and persistent influence of Ancient Egyptian culture on the West. The author deftly develops his argument that the civilization of Ancient Egypt is central, rather than peripheral, to the development of much of Western architecture, art, design, and religion. Curl examines: the persistence of Egyptian motifs in design from Graeco-Roman Antiquity, through the Medieval, Baroque, and Neo-Classical periods rise of Egyptology in the nineteenth and twentieth-century manifestations of Egyptianisms prompted by the discovery of Tutankhamun’s tomb various aspects of Egyptianizing tendencies in the Art Deco style and afterwards. For students of art, architectural and ancient history, and those interested in western European culture generally, this book will be an inspiring and invaluable addition to the available literature.