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The sixteenth century Ottoman architect Sinan is today universally recognized as the defining figure in the development of the classical Ottoman style. In addition to his vast oeuvre, he left five remarkable autobiographical accounts, the so-called "Adsiz Risale", the "Risaletu'l-Mi'mariyye", "Tuhfetu'l-Mi'marin", "Tezkiretu'l-Mi'mariyye" and "Tezkiretu'l-Bunyan" that provide details of his life and works. Based on information dictated by Sinan to his poet friend Mustafa Sa'i Celebi shortly before his death, they exist in multiple manuscript versions in libraries in Istanbul, Ankara, and Cairo. The present volume contains critical editions of all five texts, along with transcriptions, annotated translations, facsimiles of the most important variant versions, and an introductory essay that analyzes the various surviving manuscripts, reconstructs their histories, and establishes the relationships between them.
Sinan Antoon returns to the Iraq war in a poetic and provocative tribute to reclaiming memory Widely-celebrated author Sinan Antoon’s fourth and most sophisticated novel follows Nameer, a young Iraqi scholar earning his doctorate at Harvard, who is hired by filmmakers to help document the devastation of the 2003 invasion of Iraq. During the excursion, Nameer ventures to al-Mutanabbi street in Baghdad, famed for its bookshops, and encounters Wadood, an eccentric bookseller who is trying to catalogue everything destroyed by war, from objects, buildings, books and manuscripts, flora and fauna, to humans. Entrusted with the catalogue and obsessed with Wadood’s project, Nameer finds life in New York movingly intertwined with fragments from his homeland’s past and its present—destroyed letters, verses, epigraphs, and anecdotes—in this stylistically ambitious panorama of the wreckage of war and the power of memory.
Born into a family of corpse washers, Jawad abandons tradition by enrolling in Baghdad's Academy of Fine Arts to study sculpting, but the conditions caused by Saddam Hussein's oppressive rule force a return home to the family business.
A risky and risqué prison memoir depicts the collective nightmare of life under Saddam.
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 complete critical edition of two important texts, Tezkiretüʼl-bünyan and Tezkiretüʼl-ebniye, based on Sinan's own accounts of his life and works. The text is accompanied by scores of full color photographs of Sinan's monuments, miniatures illustrating his works, and facsimiles of the original scripts.
Modern scholarship has not given Edirne the attention it deserves regarding its significance as one of the capitals of the Ottoman Empire. This edited volume offers a reinterpretation of Edirne’s history from Early Ottoman times to recent periods of the Turkish Republic. Presently, disconnections and discontinuities introduced by the transition from empire to nation state still characterize the image of the city and the historiography about it. In contrast, this volume examines how the city engages in the forming, deflecting and creative appropriation of its heritage, a process that has turned Edirne into a UNESCO heritage hotspot. A closer historical analysis demonstrates the dissonances and contradictions that these different interpretations and uses of heritage produce. From the beginning, Edirne was shaped by its connectivity and relationality to other places, above all to Istanbul. This perspective is employed at many different levels, e.g., with regard to its population, institutions, architecture, infrastructures and popular culture, but also regarding the imaginations Edirne triggered. In sum, this multi-disciplinary volume boosts urban history beyond Istanbul and offers new insight into Ottoman and Turkish connectivities from the vantage point of certain key moments of Edirne’s history.
The Ottoman court of the late 16th century produced an unprecedented number of sumptuously illustrated chronicles. While usually dismissed as imperial eulogies, Emine Fetvacı demonstrates that these books commented on contemporary events, promoted the political agendas of courtiers as well as the sultan, and presented their patrons and creators in ways that helped shape the perspectives of their elite audience. Picturing History at the Ottoman Court traces the simultaneous crafting of political power, the codification of a historical record, and the unfolding of cultural change.
Each of these Analysing Architecture Notebooks is devoted to a particular theme in understanding the rich and varied workings of architecture. They can be thought of as addenda to the foundation volume Analysing Architecture, which first appeared in 1997 and has subsequently been enlarged in three further editions. Examining these extra themes as a series of Notebooks, rather than as additional chapters in future editions, allows greater space for more detailed exploration of a wider variety of examples, whilst avoiding the risk of the original book becoming unwieldy. Metaphor is the most powerful component of the poetry of architecture. It has been a significant factor in architecture since the earliest periods of human history, when people were finding ways to give order and meaning to the world in which we live. It is arguable that architecture began with the realisation of metaphor in physical form, and that subsequent movements – from Greek to Gothic, Renaissance to Modern, Victorian to Vernacular... – have all been driven by the emergence or rediscovery of different metaphors by which architecture might be generated.
This critical edition of Mustafa Âli’s Epic Deeds of Artists about the lives and works of calligraphers and painters offers insight into the artistic, cultural, social, and religious traditions that produced the great artists of the Ottoman and Persianate worlds.