Venetia Porter - Academia.edu (original) (raw)

Papers by Venetia Porter

BRILL eBooks, Apr 18, 2022

The New Cambridge History of Islam

The Yale University Art Gallery is thrilled to participate in a campus-wide, yearlong celebration... more The Yale University Art Gallery is thrilled to participate in a campus-wide, yearlong celebration marking the 175th anniversary of the field of Arabic studies at Yale University, which was inaugurated in 1841 when Edward Elbridge Salisbury, b.a. 1832, became the first professor of Arabic and Sanskrit in the United States. On the occasion of this milestone anniversary, the Gallery presents Modern Art from the Middle East, a selection of paintings, sculptures, and works on paper by important Middle Eastern artists rarely exhibited in the United States. The 19 artworks on display are on loan from the Barjeel Art Foundation, an impressive collection of modern and contemporary art located in Sharjah, the United Arab Emirates. Established by Sultan Sooud Al Qassemi, the foundation promotes the art of the Middle East through international collaborations. The Middle East encompasses countries with extremely diverse cultures. During the second half of the 20th century, following the end of the era of colonialization of the region, several of these countries saw a new generation of artists begin to explore a more modernist language in their works, creating unique styles that merge historical sources with contemporary art practice. Modern Art from the Middle East presents artworks from the 1950s to the 1980s from Egypt, Iraq, Lebanon, and Syria; these objects exemplify how the end of colonialism and the establishment of nation-states carved from the former Ottoman Empire triggered a quest for identity in the arts. The selected works chart the concurrent rise of major art centers in cities such as Baghdad, Beirut, and Cairo that furthered the propagation of the visual arts with the opening of museums and academies.

Giulio Einaudi Editore spa, 2019

In public and private collections there are many thousands of seals that can be broadly defined a... more In public and private collections there are many thousands of seals that can be broadly defined as Islamic. They are made from a range of materials such as carnelian, chalcedony, rock crystal and hematite and carry a variety of types of inscriptions in Arabic script. There are names of owners, pious inscriptions which include invocations to God or Shi‘ite imams. Some carry symbols such as stars or single letters, numbers sometimes in squares, letters and numbers mixed together. Others have obscure and difficult inscriptions in Kufic script, generally relegated to the ‘undeciphered inscription’ category. All these inscriptions are engraved in reverse and are, therefore, made with the intention of stamping onto something. However, the same inscriptions or symbols often appear engraved in positive, and these objects are generally regarded as talismans. This paper considers firstly the overlap between the validatory and amuletic functions of seals, and then goes on to discuss a variety ...

A Companion to Islamic Art and Architecture, 2017

Following on the British Museum's critically acclaimed exhibitionHajj: journey to the heart o... more Following on the British Museum's critically acclaimed exhibitionHajj: journey to the heart of Islam, this volume provides over thirty papers on the history and significance of the Hajj, spanning history, politics, archaeology, pilgrims' journeys, art, architecture, photography and material culture. This is a major multi-disciplinary study and a key reference work for anyone with an academic or personal interest in the Hajj.

INTRODUCTION: Venetia Porter and Mariam Rosser-Owen The Principle of Parsimony: The Problem of th... more INTRODUCTION: Venetia Porter and Mariam Rosser-Owen The Principle of Parsimony: The Problem of the 'Mosul School' of Metalwork. Julian Raby Metalwork from the Iranian world Metalwork and Fourteenth-Century Persian Painting: A Footnote. Teresa Fitzherbert A die engraver from Balkh. Luke Treadwell The ugly duckling of Iranian metalwork? Initial remarks on Qajar copper and copper alloy objects in the National Museums of Scotland. Ulrike al-Khamis Iran and India The Mobility of Metallurgy: A Case of Fraud in Medieval Kashmir. Finbarr B. Flood A Tubular Bronze Object from Khurasan. Lorenz Korn Persians Abroad: The Case of the Jami' Masjid of Gulbarga. Robert Hillenbrand Mamluk metalwork in focus A Mamluk Casket: An Extraordinary Object in the Fitzwilliam Museum. Rachel Ward A Mamluk Tray: Its Journey to the Victoria and Albert Museum. Tim Stanley A Mamluk Basin: Arabic Titles, Well-Wishes and a Female Saint in the Rijksmuseum, Amsterdam. Luitgard Mols Egypt and Syria: artefac...

Curating Islamic Art Worldwide, 2019

October 2018 saw the opening of the Albukhary Foundation Gallery of the Islamic World, two high-c... more October 2018 saw the opening of the Albukhary Foundation Gallery of the Islamic World, two high-ceilinged rooms situated at the heart of the British Museum. Made possible by the generosity of the Malaysia-based Albukhary Foundation, this was the fulfilment of a 3-year project conceived and worked on by a team of six curators—Venetia Porter, Ladan Akbarnia, Fahmida Suleman, Zeina Klink-Hoppe, William Greenwood and Amandine Merat. Encompassing everything from pre-Islamic inscriptions to contemporary art, Nigerian skullcaps to Chinese porcelains, the Albukhary Foundation Gallery showcases material culture from across the Islamic world. The story that it tells is one of global connections, and, through a focus on objects in their contexts, we hope to provide insights into artistic patronage and the exchange of ideas, how people lived, how they saw themselves and others and what they valued. This chapter sets out the curatorial vision, charting the steps along the way and also looking at...

1 Introduction by Dr Venetia Porter 2 Naskh script: a brief introduction 3 The Arabic alphabet 4 ... more 1 Introduction by Dr Venetia Porter 2 Naskh script: a brief introduction 3 The Arabic alphabet 4 The initial, medial and final 5 Getting started: what you need to know and do 6 Stage One: al-Mufradat (single letters) 7 Stage Two: al-Murakkabat (joined letters) 8 Stage Three: al-Kelimat (words) 9 Gallery 10 Naskh script: past and present 11 Bibliography and further reading

The annual ritual pilgrimage to Makkah was established by the Prophet Muhammad in the last year o... more The annual ritual pilgrimage to Makkah was established by the Prophet Muhammad in the last year of his life (AD 632). Over the following centuries the experience and importance of Hajj have been evocatively documented in countless ways. Highlighting the pilgrims' journey across time, the sacred rituals of Hajj, and the city of Makkah itself, this beautiful little book features illuminated manuscripts, wall paintings and photographs, as well as calligraphy, textiles, scientific instruments, decorative tiles, maps, ceramics, metalwork and powerful works by contemporary artists.

The word seal can mean both the object used for stamping, sometimes called the 'seal matrix', and... more The word seal can mean both the object used for stamping, sometimes called the 'seal matrix', and the seal impression, also called a 'seal stamp' or 'sealing'. Seal matrices are carved in 'negative', so that the inscription reads in 'positive' when stamped. The photographs of seal matrices shown here have been reversed, to enable the inscriptions to be read. When two dates are given, the first is in the hijrah era. Like namecards today, a seal presented the image a person wished to project to the world, yet often conveyed much more than was written. A seal inscribed simply with the name of the owner and a pious phrase might also reveal when and where that person lived, their social status and aspirations, and their religious beliefs. While the calligraphy and design of a seal reflected the artistic spirit of its time and place, it could also be shaped by personal taste, whether cutting-edge or conservative. Masterworks in miniature, these seals leave lasting impressions of the people who commissioned and used them, and the Islamic worlds in which they were created.

Contemporary Art from the Middle East, 2015

Architectural Heritage of Yemen

Venetia Aim Porter Presented for the degree of Ph.D. University of Durham, 1992 The History and M... more Venetia Aim Porter Presented for the degree of Ph.D. University of Durham, 1992 The History and Monuments of the Tahirid dynasty of the Yemen 858-923/1454-1517 This thesis examines the rise to power and the rule of the short-Uved Tahirid dynasty of the Yemen. The dynasty ruled over most of Lower Yemen at a critical juncture between the fall of the better known Rasulid dynasty in 858/1454, and the Mamluk conquest of the Yemen in 923/1517. The first part of the thesis, chapters 1-5 looks in detail at the political history, while the second part, chapters 6-8, examines other aspects of the period: the coinage and the arcliitectural legacy. The thesis argues that the Tahirids were able to take over Lower Yemen by making themselves indispensable to the previous dynasty. Once in power, successive Tahirid sultans were faced with three major kinds of problem: challenges to their authority within the family, rebellious tribes on whom they depended for tax revenues and the ever present threat from the Zaydf imamate to the north of the coimtry. However, the end of the d)Tiasty was brought about as an indirect consequence of the Portuguese incursions into the Indian Ocean. This led to the Mamluk interest in and subsequent invasion of the Yemen. In the face of this challenge, the precariousness of Tahirid power and authority became apparent Defeated by the Mamluks and with no resource to fall back upon, the dynasty came to an abrupt and violent end. The principal legacy of this short-lived, indigenous Sunnf Yemeni dynasty lies in its architectural mon uments. These display an interesting synthesis of traditions some of which reflect the styles of their Rasulid predecessors, some the influence of India. The accompanying volume of plans and photographs illustrates aspects of the Tahirid monuments and their architectural decoration.

Material Religion: The Journal of Objects, Art and Belief, 2012

The Hajj, one of the five pillars of Islam, is the largest pilgrimage in the world today and a sa... more The Hajj, one of the five pillars of Islam, is the largest pilgrimage in the world today and a sacred duty for all Muslims. Each year, millions of the faithful from around the world make the pilgrimage to Makkah, the birthplace of Islam where the Prophet Muhammad received his revelation. With contributions from renowned experts Muhammad Abdel Haleem, Hugh Kennedy, Robert Irwin, and Ziauddin Sardar, this fascinating book pulls together many strands of Hajj, its rituals, history, and modern manifestations. Travel was once a hazardous gamble, yet devoted Muslims undertook the journey to Makkah, documenting their experiences in manuscripts, wall paintings, and early photographs, many of which are presented here. Through a wealth of illustrations including pilgrims' personal objects, souvenirs, and maps, "Hajj" provides a glimpse into this important holy rite for Muslim readers already grounded in the tradition and non-Muslims who cannot otherwise participate. "Hajj" does not, however, merely trace pilgrimages of the past. The Hajj is a living tradition, influenced by new conveniences and obstacles. Graffiti, consumerism, and state lotteries all now play a role in this time-honored practice. This book opens out onto the full sweep of the Hajj: a sacred path walked by early Islamic devotees and pre-Islamic Arabians; a sumptuous site of worship under the care of sultans; and an expression of faith in the modern world.

Arabian Archaeology and Epigraphy, 1990

The coinage of the first Rasulid sultan of the Yemen, al‐Malik al‐Mansūr, is discussed, with spec... more The coinage of the first Rasulid sultan of the Yemen, al‐Malik al‐Mansūr, is discussed, with special attention to the production of his mint at Mabyan during the early years of his reign.