Portrait

Thirteenth International Congress of Turkish Art Proceedings, editors: Géza Dávid-Ibolya Gerelyes, (Budapest, 03-08 September 2007), Hungarian National Museum, Budapest , 2009

This paper revises an album (muraqqa) (Topkapı Palace Museum Library, H.2135) which was compiled at the end of the 18th century for a bibliophile Ottoman bureaucrat named Mehmed Emin Efendi who was the youngest son of shaykh-ül islâm Veliyyüd-dîn Efendi. The dimensions of the album’s binding are 37 x 26 cm. Its front and back had been covered by an European seraser fabric dating to the mid 18th century. The album has twenty seven folios which are at the same dimensions of the binding and all of these folios had been arranged by the compilation of various flat-coloured and marbled papers using the vassale method. Further the illumination works in Safavid and Ottoman styles in this album had also been aligned with the same method. At these folios there are sixty five drawings, three of them are European engravings, one belonging to Hans Brosamer who was a German painter, draughtsman, engraver and woodcut designer. He worked in Fulda from c. 1520 to the mid-1540s, as is known from a series of dated paintings and copper engravings. The rest of drawings are qalem-i siyahî works, most of which are tinted. These works had been drawn in Timurid Herat and Safavid Meshed, Horasan (Herat), Isfahan styles during the late 15th and 16th-17th centuries. This album also contains Ottoman drawings dating to the 17th and 18th centuries. This paper will deal with the content of the album H.2135 trying to clarify the connection between European engravings and Islamic drawings according to the interactions of cultures, their subject matter, medium and provenance.

مجلة کلیة الآثار . جامعة القاهرة

A unique wooden panel from Fayoum Region 1 A unique wooden panel from Fayoum Region, 2017

This paper will investigate and focus on studying a unique painted wooden panel JE. 38250. Indeed, the main aim of this study precisely will be to examine and identify these figures which are depicted on the wooden panel, to recognize the religious significance, to find an approximate dating, and to find out the main function of this object. Provenance: The main provenance of this object is Fayoum Region, probably came from Tebtynis "Tell umm Breigat" (fig.1). Dimensions: Height: 55cm; Width: 26 cm. Current Status: A large part of this object was totally destroyed, but recently the remaining part of it was retorted. There is a very small part is missing in the lower part of the panel. There are some parts of the painted stucco layers that are chipped off the surface of the wood. s. This panel is made with tempera, which uses an egg-yolk medium. Using small brushes dipped in a mixture of pigment and egg-yolk, the paint was applied in very small, almost transparent, brushstrokes. Thin layers of paint would be used to create volumetric forms 1. wooden panels generally were used in many purposes like mummies' portraits, personal portraits and votive panels etc... Actually this panel is a votive one. Physical Description (fig.2 a&b): This panel consists of two gathered panels; one of them is still preserved in our hands. The scene represents a bust of young lady in the frontal pose but her face is in the three-quarters pose, she moves her head and her consideration towards her proper right a little. She wears a black Chiton with folds over her chest which is covered by long red Himation. She wears a long spiral red necklace around her neck ends with a small standing figurine. The neck seems fairly big and contains two or three folds. The head seems relativity large and the cheeks are chunky and painted in pink. The chin is pointed and short. She wears earrings consist of one bead of pearl in each ear. The head is surrounded by transparent veil headdress. It is wrapped around it in

Eastern Christian Art, 2004

Studies in Honor of Richard A. Fazzini, 2007