THE MÜLKNĀMES OF HÜRREM SULTAN'S WAQF IN JERUSALEM

THE MÜLKNĀMES OF HÜRREM SULTAN'S WAQF IN JERUSALEM AMYSINGER THE MÜLKNAMES OF HÜRREM SULTAN'S WAQF IN JERUSALEM In the spring of 1986, thousands of people in Washington, D.C., visiting an exhibition at the National Gallery, stopped to marvel at the elegant signature of the Ottoman Sultan Süleyman I. Its gold and blue curving form, delicately embellished with tiny flowers in red and green, together with the other stunning examples of calligraphy, textiles, jewelry, ceramics and painting on display, exemplified Süleyman's Western epithet, "the Magnificent" . Yet this audience of museum goers, and subsequent crowds in Chicago, New York, London, Paris, and Berlin, may not have appreciated that the imperial signature on the wall was not intended to be displayed before so many eyes, and indeed probably never had been prior to this exhibition. Few, if any, knew something of the document which was written beneath the signature; in fact, the text was rolled up during the exhibit, hiding the black and gold lines of intricate script which bore the message of this imperial deed. It would have been impossible for anyone to comprehend, then, the combined impact of the document's message and its physical form. I This dissociation of form and content forced upon the museum-goers http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Muqarnas Online Brill

THE MÜLKNĀMES OF HÜRREM SULTAN'S WAQF IN JERUSALEM

Muqarnas Online , Volume 14 (1): 96 – Jan 1, 1997

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Publisher
BRILL
Copyright
Copyright 1997 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0732-2992
eISSN
2211-8993
D.O.I.
10.1163/22118993-90000372
Publisher site
See Article on Publisher Site

Abstract

AMYSINGER THE MÜLKNAMES OF HÜRREM SULTAN'S WAQF IN JERUSALEM In the spring of 1986, thousands of people in Washington, D.C., visiting an exhibition at the National Gallery, stopped to marvel at the elegant signature of the Ottoman Sultan Süleyman I. Its gold and blue curving form, delicately embellished with tiny flowers in red and green, together with the other stunning examples of calligraphy, textiles, jewelry, ceramics and painting on display, exemplified Süleyman's Western epithet, "the Magnificent" . Yet this audience of museum goers, and subsequent crowds in Chicago, New York, London, Paris, and Berlin, may not have appreciated that the imperial signature on the wall was not intended to be displayed before so many eyes, and indeed probably never had been prior to this exhibition. Few, if any, knew something of the document which was written beneath the signature; in fact, the text was rolled up during the exhibit, hiding the black and gold lines of intricate script which bore the message of this imperial deed. It would have been impossible for anyone to comprehend, then, the combined impact of the document's message and its physical form. I This dissociation of form and content forced upon the museum-goers

Journal

Muqarnas OnlineBrill

Published: Jan 1, 1997

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