Download An Armenian Artist in Ottoman Cairo: Yuhanna al-Armani and by Magdi Guirguis PDF

By Magdi Guirguis

Yuhanna al-Armani has lengthy been recognized through historians of Coptic artwork as an eighteenth-century Armenian icon painter who lived and labored in Ottoman Cairo. the following for the 1st time is an account of his lifestyles that appears past his inventive creation to put him firmly within the social, political, and monetary milieu during which he moved and the confluence of pursuits that allowed him to flourish as a painter.
Who was once Yuhanna al-Armani? What used to be his community of relationships? How does this make clear the contacts among Cairo's Coptic and Armenian groups within the eighteenth century? Why used to be there quite a bit call for for his paintings at that specific time? and the way did a member of Cairo's then really modest Armenian group succeed in such heights of inventive and artistic undertaking? Drawing on eighteenth-century deeds on the subject of al-Armani and different contributors of his social community recorded within the registers of the Ottoman courts, Magdi Guirguis deals a desirable glimpse into the methods of lifetime of city dwellers in eighteenth-century Cairo, at a time while a civilian elite had reached a excessive point of prominence and wealth. Illustrated with 28 full-color reproductions of al-Armani's icons, An Armenian Artist in Ottoman Egypt is a wealthy and compelling window on Cairene social heritage that may curiosity scholars and students of paintings background, Coptic experiences, or Ottoman history.

Show description

Read Online or Download An Armenian Artist in Ottoman Cairo: Yuhanna al-Armani and His Coptic Icons PDF

Similar turkey books

Occidentalism in Turkey: Questions of Modernity and National Identity in Turkish Radio Broadcasting

From the early Attaturk years, Turkish radio broadcasting was once obvious as a very good desire for sealing the nationwide id of the hot Turkish Republic. because the inaugural broadcast in 1927, the nationwide elite designed radio broadcasting to symbolize the "voice of a country. " right here Meltem Ahiska unearths how radio broadcasting really confirmed Turkey’s uncertainty over its place on the subject of Europe.

Muslims in Modern Turkey: Kemalism, Modernism and the Revolt of the Islamic Intellectuals (Library of Modern Middle East Studies)

Smooth Turkey is the positioning of a strong Islamic revival, with a robust highbrow elite devoted to the overthrow of secular modernism. Why have smooth Muslim intellectuals became opposed to the beliefs of Kemalism on which the trendy Turkish geographical region is based? What does this display concerning the way forward for Turkey?

British Diplomacy in Turkey, 1583 to the present (Diplomatic Studies)

Because the early 20th century the resident embassy has been alleged to be residing on borrowed time. through an exhaustive old account of the contribution of the British Embassy in Turkey to Britain's diplomatic courting with that country, this ebook indicates this to be fake. half A analyses the evolution of the embassy as a operating unit as much as the 1st international warfare: the structures, diplomats, dragomans, consular community, and communications.

Women and the City, Women in the City: A Gendered Perspective to Ottoman Urban History

An try and display, get well and reassess the jobs, positions, and activities of Ottoman girls, this quantity reconsiders the negotiations, alliances, and service provider of girls in announcing themselves within the public area in past due- and post-Ottoman towns. Drawing on different theoretical backgrounds and numerous resource fabrics, from courtroom documents to memoirs to interviews, the members to the quantity reconstruct the lives of those girls in the city sphere.

Extra info for An Armenian Artist in Ottoman Cairo: Yuhanna al-Armani and His Coptic Icons

Sample text

The theological and religious positions of a church had an impact on its iconography and constituted a barrier that could restrict potential influence from other churches. Every church, for instance, has its own local saints and its own traditions of representing them. The collective memory of the Coptic Church includes a large number of saints who were martyred as they defended their faith in the face of another Church, that of the Holy Roman Empire. The Coptic Church has always tried to maintain its distinct culture and creed, independent of other churches and especially of the Chalcedonian churches.

The local context of the Armenian community in Egypt can also be explored in relation to Armenian communities elsewhere in the Ottoman Empire. More of this will be discussed below. However, it is important to note that the Armenian community in Egypt enjoyed considerable autonomy in managing its own affairs, independent of the Armenian Church. Contrary to common assumptions, the Armenian patriarch in Istanbul, who was nominally in charge of all Orthodox churches within the Ottoman Empire, does not seem to have had any significant influence or control over the Armenian community in Egypt.

14 Other scholars argue for the importance of Byzantine influences on Yuhanna’s art, suggesting an alternative channel for its transmission. Mat Immerzeel, for example, considers that Byzantine artistic traditions reached Egypt through Crete. In his view, after the fall of Constantinople to the Ottomans in 1453, many residents of the imperial Byzantine capital—including a number of icon-painters—fled to the island of Crete, where they settled and continued to produce. But a couple of centuries later, in 1669, Crete itself came under Ottoman rule, and was integrated into the empire.

Download PDF sample

Rated 4.31 of 5 – based on 14 votes