Publications
Egyptian Artists in the Late Antique and Early Islamic Mediterranean. Selected papers by Mab van Lohuizen-Mulder
A pioneering re-evaluation of Egyptian artists' contributions to Late Antique and Early Islamic Mediterranean art, particularly during the Umayyad period. The work highlights the significant role of traveling Egyptian mosaicists, painters, stone carvers, and stucco workers in decorating iconic structures such as San Vitale (Ravenna), Qusayr Amra, and the Great Mosque of Damascus, challenging traditional narratives that often overlooked their influence. Through a compilation of Mab van Lohuizen-Mulder's seminal articles from the 1980s and 1990s, this book provides new high-resolution imagery and synthesizes recent scholarship to contextualize the mobility and exchange of artistic traditions across the Mediterranean. It serves as an essential resource for understanding the cultural and artistic interactions that defined this transformative period.
Revisiting Qusayr Amra: A New Perspective on Female Imagery
Female representations at Qusayr Amra reflect a deliberate adaptation of pre-Islamic artistic traditions, challenging assumptions about modesty and figural representation in 8th-century Umayyad palaces. This study reveals that these depictions were not merely decorative but carried complex social meanings related to beauty, gender, and hierarchy, influenced by contemporary ideas and texts like the Qur’an. By comparing visual imagery with written sources and analyzing a key fresco, researchers demonstrate how Patron Walid II's patronage enabled a bold engagement with Islamic visual culture, offering new insights into early Islamic artistic expression and its negotiation of social values.
The archaeological site of Qusair Amra as one of the outstanding Umayyad palaces
Qusair Amra, an Umayyad palace in Jordan, stands out as a remarkable example of early Islamic architecture and artistry. Built between the 7th and 8th centuries AD, it features exceptional frescoes, mosaics, and decorative scenes, particularly in its reception hall, corridors, throne room, and bath complex. These wall paintings are among the largest surviving collections from the early Islamic period, showcasing intricate designs and historical significance. The palace's archaeological value was highlighted through extensive excavations by archaeologist Moselle between 1898 and 1911, with findings published in Jordanian Antiquities. A descriptive and analytical approach was used to document its architectural elements. Recognized for its historical importance, Qusair Amra was inscribed on the UNESCO World Heritage List in 1985, underscoring its global cultural heritage status.
Kusayr Amra Sarayı Fresklerinde Zanaatkâr Sahneleri
A unique depiction of craftsmen in early Islamic art emerges from the frescoes of Quseir Amra Palace, likely commissioned by Caliph Walid bin Yazid. The study analyzes 32 panels in the Restoration Hall's ceiling, illustrating diverse trades such as carpentry, blacksmithing, stone-cutting, and mortar preparation. These frescoes stand out for their rare portrayal of laborers, offering insights into Emevi period craftsmanship techniques and decorative motifs. The research also explores the stylistic influences and thematic connections to other palace decorations, suggesting a broader narrative glorifying the caliph's rule.
Pre-Islamic Motives in the Interior of Umayyad Palaces Quseir Amra and Mshatta (661-750 A.D.)
Research on the Umayyad Palaces of Quseir Amra and Mshatta in Jordan reveals that religious and cultural syncretism played a pivotal role in shaping early Muslim architectural traditions. The study highlights how multicultural and multi-confessional influences during the 7th to 8th centuries led to unique artistic solutions, blending recent and ancient motifs. This synthesis of traditions underscores the ideological and aesthetic complexity of Umayyad palace interiors, offering new insights into the development of Islamic art and architecture. The analysis focuses on decorative elements, demonstrating their significance in reflecting broader historical and cultural interactions.
The royal veil: early Islamic figural art and the Bilderverbot reconsidered
A re-evaluation of early Islamic art challenges the traditional notion that the Bilderverbot (prohibition against figural imagery) was universally enforced. The study highlights a famous painting from Qusayr Amra, an 8th-century Umayyad palace in the Syrian steppe, as evidence for religiously inspired figural art, contradicting the long-held belief that aniconism was the normative model. Instead, it argues that the inhibition of images stemmed primarily from the concept of an invisible God rather than a strict opposition to imagery itself. This research sheds new light on the complexities of early Islamic artistic practices and theological interpretations.
The early 8thcentury A.D. zoomorphic iconography of the wall decorations in Qasr al-Amra, Hashemite Kingdom of Jordan
The early 8th-century A.D. zoomorphic iconography of Qasr al-Amra, Jordan, reveals a rich depiction of local fauna, including snakes, birds (herons, flamingos, cranes, peacocks, and partridges), carnivores (brown bears, wildcats, and pika), and ungulates (Syrian onagers and Persian gazelles). These illustrations likely draw influence from the Iranian epic poem Shâh Nâmeh and other traditional Sassanid and Muslim texts. The study analyzes the surviving wall paintings, providing insights into the artistic and cultural context of the Umayyad period. By examining these decorations, researchers uncover a blend of local wildlife representation and literary influences, offering a unique glimpse into the iconography of the time.
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