Public Monuments in Turkey and Egypt 1840-1016 (original) (raw)
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The Monument and Statue of Ismail in Alexandria
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The Italians settled in Egypt as early as the 14th century and the Venetians were the first to have a consul for their merchants and nationals in Egypt since 1346. They enjoyed various privileges in Egypt during the Mamluk and Ottoman eras and consequently their numbers in Egypt increased notably and they mostly worked on trade. During his reign; Mohammad Ali used Italians for his renaissance thus; artists, architects, technicians…etc., migrated to Egypt creating a more diverse Italian community. Consequently, the successors of Mohammad Ali had strong relations with Italy. King Foad I was a friend of King Victor Emmanuelle and they ex-changed visits. In expression of friendship, love and appreciation, the Italian com-munity decided to establish a monument with the statue of Ismail in its center as a gift to King Foad I. The aim of the present paper is to discuss the circumstances of building the monument, the artist who sculpted the statue and the response to its establishment. It also aims to discuss the importance of this building as an example of Italian heritage in Alexandria in addition to important events related to it. Key words: Italian community, King Foad I, statue of Ismail, Italian heritage.
Islamic Art (eds. E. Grube, E. Sims), 6, 2009, pp. 51-79
the Seljuqs of anatolia, sometimes called the rum-Seljuks, are known for their frequent use of figural representations, especially in the decoration of their architectural commissions. 1 this tradition, however, was already well established by the end of the 11th century in south-eastern anatolia, and it continued under the emirates, or beyliks, all over anatolia during the 14th and early 15th centuries. if we take into account this entire period, altogether some hundred stone reliefs on more than fifty monuments are recorded. 2 only the ottomans, generally speaking, did not continue this tradition, for reasons i shall not discuss here.
Deliberately Not Empty: Reading Cairo's Unknown Soldier Monument
The relatively short history of Cairo's Unknown Soldier monument not only reminds us that national monuments, however “eternal” they may appear to many who grew up with them and were taught to believe in a ‘natural’ connection between the symbol and its referent, are always works in progress. These texts are being written, sometimes erased, and always appropriated and overwritten by other contemporaries and in subsequent generations. It also points to the different layers of historical signification that may reside in one and the same symbol: while it seems likely that the Tomb of the Unknown Soldier, because of its central element for contemporary Egyptian identity (representing the biggest Arab military victory over Israel, at least as Egyptians see it) will remain an important national symbol for Egyptians in the future; it has already changed its symbolic valuation several times in barely three decades. Moreover, even in its original form, in 1975, it was already a variant of a tradition, since it combined the concept of the “Unknown Soldier” monument with that of another, the commemorative mural.
(Bantalem T.) Architectural Symbolism in Some Memorial Monuments of Modern Ethiopia
Proceedings of the Conference of Cultural Landscapes of Ethiopia, Mekele University, Mekele University Press,, 2015
Many countries use architectural symbolism in memorial monuments, cultural projects, landscapes and institutions to com-and twentieth centuries to defend the sovereignty of Ethiopia, many of the leaders and events are not well commemorated. Historical and memorial monuments are not protected from human and natural calamities, nor are they methodically promoted for tourism. Rather, some of such monuments have been destroyed for political reasons and some others have been altered to suit changing political circumstances.
2005
Bachelor of Arts Thesis Department of Art History Faculty of Philosophy University of Belgrade, Serbia