Writer, researcher and specializing in Islamic civilization, antiquities and the history of Egyptian architecture. Recipient of the - State Award for Encouragement in Social Sciences - History Branch for the Year 2021. She has published a number of works and researches, including her first book “Reviving the Sciences of Alexandria. From Greek to Arabic” which provides an important insight that enriches the knowledge of specialized readers interested in Alexandria's history about the secrets and scenes of this lost link in Egypt's history. Her book "Legacy of Stone: A Biography of The Monuments transferred in the Islamic Architecture of Cairo", won the best book in the field of arts (history of art) at the 51st Cairo International Book Fair in 2020. A member of supreme Council of culture.
Global Islamic Archaeology Showcase Online Event - Centre for Islamic Archaeology - University of Exeter|26th of Sep. & 3rd of Oc. 2020
Inscriptions are considered one of the most defined features in Islamic culture and are used to d... more Inscriptions are considered one of the most defined features in Islamic culture and are used to decorate works of art and architecture created in Islamic countries. These inscriptions serve numerous functions, aside from their aesthetic value, such as documenting dates and proclaiming ownership and patronage. Arabic inscriptions, often imitated in European art and architecture, are considered a foreign and unique style of decorative patterns used during the Middle Ages to ornament some coins, textiles, and architecture in Byzantine Europe. The inscriptions were usually meaningless, consisting of letters of Kufic script; one of the most prominent and earlier types of Arabic scripts. These false Arabian inscriptions were known as “pseudo-Kufic” or “pseudo-Arabic”. The presence of pseudo-Arabic inscriptions as decorative patterns of some medieval Byzantine churches in European countries became more common from the thirteenth to the fifteenth century, where they are found mostly as brick designs in exterior walls. Many examples still exist in Spain, Italy, France, Greece and other European countries. Art historians considered the function of the imitated Arabic inscriptions as meaningless decorative patterns. However, some scholars regarded the other examples of these inscriptions that contain meaningful phrases or words convey a particular significant symbol related to the Islamic presence in Europe. It may affirm a visual identity of Islamic culture in the regions over which medieval Muslims held dominion or had a neighbouring interaction and exchange. Based on the previous explanations; the lecture aims to examine types of Arabic epigraphic patterns, located in Italy and Greece Medieval churches as a case study, to understand the significance of these inscriptions as an image of the Islamic culture in European visual art. Keywords: Arabic Inscriptions - Medieval European Churches - Islamic Culture - pseudo-Kufic - decorative pattern.
«إسهامات أعضاء لجنة حفظ الآثار العربية المصريين في دراسة النقوش الكتابية الإسلامية، أعمال ندوة "ر... more «إسهامات أعضاء لجنة حفظ الآثار العربية المصريين في دراسة النقوش الكتابية الإسلامية، أعمال ندوة "رواد دراسة النقوش العربية والإسلامية.. المصريون والعرب»، 18-19 ديسمبر 2019، مكتبة الإسكندرية، 2022، ص 32-37.
Journal of Archaeology and Tourism (JAT) Journal, 2022
احتوت العمارة الإسلامية في مصر، وبالتحديد مدينة القاهرة، جانبًا من التراث المعماري السابق عليها، ... more احتوت العمارة الإسلامية في مصر، وبالتحديد مدينة القاهرة، جانبًا من التراث المعماري السابق عليها، احتضنت المناسب لها منه كما هو، أو كيفته من جديد لأجل الاستفادة من كافة موارد البناء المتاحة، بتوظيفها في تشييد منشآت جديدة، والتي تضمنت كافة العناصر المعمارية القديمة. لذا، دخل في عمارة عددًا من مساجد القاهرة، أعمدة منقولة من منشآت مسيحية، تحمل تيجانها زخارف مسيحية؛ منها ما هو منقوش عليه الصليب، ومنها ما هو منقوش عليه طائر بشكل حمامة أو نسر. وتهدف الورقة البحثية إلى بيان وجه من أوجه التفاعل بين الآثار القبطية والإسلامية، كنموذج للتواصل الحضاري بين مصر القبطية ومصر الإسلامية ممثلاً في فن العمارة، عبر استعراض نماذج من تلك الأعمدة في مساجد القاهرة، بهدف إلقاء الضوء على استعمال تلك العناصر المعمارية المسيحية من منظور الشريعة الإسلامية، للوقوف على دلالات استخدامها في منشآت ذات طبيعة وظيفية دينية. مما يعد شاهدًا على الطابع المدني للفن الإسلامي الذي استوعب التراث المعماري السابق عليه، فإن كانت الدوافع العملية الاقتصادية هي المحرك الأول لتعامل المسلمون مع تلك العناصر المعمارية باعتبارها مواد بناء؛ فهي على جانب آخر تمثل نموذج للتأثير المتبادل بين التراث المعماري القبطي والثقافة الإسلامية، بما تشمله من مفاهيم التسامح والعدل واحترام الأديان.
Islamic architecture in Egypt, specifically in the city of Cairo, through the successive eras of the Islamic civilization, included parts of the former architectural heritage, where it has comprised the appropriate elements as it is, or re-adapted it to take advantage of all available building resources, which included ancient architectural elements. Therefore, a set of columns transferred from Christian edifices to the mosques of Cairo, where their capitals engraved with Christian symbols such as the cross, the bird in the shape of a pigeon or an eagle. Accordingly, the research paper aims at explaining the one of the aspects of interaction between Coptic and Islamic monuments in the ages of Islamic civilization, as a model of the connection between the Coptic and Islamic Egypt represented in the architecture, by studying examples of these columns with Christian symbols reused in mosques in Cairo. In order to shed light on the usage of those Christian architecture elements from the perspective of Islamic law, and to find out the significance of its use in religious functional buildings. These architecture elements stand as a witness of the civil character of Islamic art, which absorbed the former architectural heritage. Although, the practical- economic motives were the primary incentive for Muslims to deal with those architectural elements as building materials; it considered on the other hand a prototype of the mutual influence between the Coptic architectural heritage and Islamic culture, including the concepts of tolerance, justice and respect for religions.
تعد التکية المولوية بالقاهرة مثال فريد من العمائر في الشکل والتصميم والوظيفة، والنموذج الکامل من ... more تعد التکية المولوية بالقاهرة مثال فريد من العمائر في الشکل والتصميم والوظيفة، والنموذج الکامل من التکايا الذي أنشأ خصيصًا للاحتفال الطقسي والحضرة المولوية، فضلاً عن باقي المکونات المعمارية للتکية؛ سواء المدفن أو مبنى الخدمات أو خلوات الصوفية التي تحتفظ بشکلها وسماتها وعمارتها الأصلية. کما تعتبر مثالاً حيًا على روعة هذا النمط المعماري من المنشآت الذي يجمع بين الشعر والموسيقى والشعائر الإسلامية المفعمة بالطقوس الصوفية. تلک المنشأة الشاهدة على بهاء عمارة العصر المملوکي الزاهرة ممثلة في القبة والمئذنة الأصلية، وسمات العمارة العثمانية المميزة في فن عمارة القباب وزخرفتها؛ والتي قام دراويش الطريقة المولوية باستخدامها خلال الفترة من القرن السابع عشر إلى القرن العشرين. وتأسيسًا على ما سبق؛ يهدف هذا البحث إلى دراسة تلک المنشأة المعمارية الفريدة من نوعها؛ فهي واحدة من النماذج الکاملة والأخيرة من مثيلاتها من العمائر وهو نمط التکايا العثمانية في مصر. تعالج الورقة البحثية عبر استخدام المنهج الأثري التحليلي أهمية تلک المنشأة معماريًا وفنيًا باعتبارها رمزًا للعمارة والفنون الصوفية في مصر، حيث تلقي الضوء بصورة موجزة أولاً على الطريقة المولوية کأحد الطرق الصوفية في مصر إبان العصر العثماني، ثم تتبع تاريخ تشييد المجموعة المعمارية قبل بناء التکية المولوية. وترتکز الدراسة بصفة رئيسية على بحث تاريخ وعمارة مسرح الدراويش، بغرض إبراز ما تضمنته تلک المنشأة من رمزية معمارية، وفنون زخرفية عثمانية، وکتابات دُونت بالحرف العربي بخطوط فارسية، تعد تجسيدًا حقيقيًا لروح الطريقة الصوفية المولوية في مصر
GIAS is an online conference for postgraduate and early-careers researchers to present their rese... more GIAS is an online conference for postgraduate and early-careers researchers to present their research on Islamic archaeology and material culture to a global audience. Initially intended as a one-day event GIAS will now be held over two consecutive Saturdays to accommodate the large number of fantastic abstracts received and fulfil the goal of providing a platform to as many speakers as possible. There are just under 40 papers covering a broad range of topics-from shipwrecks to inscriptions, architecture to ceramics-spanning the continents of Africa, Asia and Europe, from the 7 th to 20 th centuries.
Many of the medieval mosques and other Islamic monuments of Cairo are richly decorated with reuse... more Many of the medieval mosques and other Islamic monuments of Cairo are richly decorated with reused ancient Egyptian monuments. Mamluk rulers employed ancient objects in their architectural constructions and sponsored scholarly writings on ancient Egyptian culture to associate themselves with what they deemed the positive aspects of this culture. During the Mamluk period, reused objects from ancient buildings were prominently displayed on the exterior and interior of buildings, especially the Egyptian spolia that was extensively employed in Mamluk architecture. A majority of these reused elements feature hieroglyphic inscriptions that are displayed in full view. In medieval popular culture, Egypt was a repository of great knowledge in science, medicine, and magic. It was a realm of wonders where spectacular, magical events occurred and wondrous treasures were buried, protected by elaborate magical spells. Scholars, rulers, travelers, and people from all levels of society shared a fascination with ancient Egyptian writing which was associated with certain magical powers. The association of Egyptian antiquities with magic powers, which persisted in popular belief, is reflected in another culture of spolia that was used for apotropaic purposes. Magic powers that could be either propitious or harmful continue to be attributed to ancient Egyptian objects to the present day, such as the famous “Curse of the Pharaohs” that was believed to be set by archaeologists and other persons involved with ancient artifacts. Many medieval mosques still had blocks inscribed with hieroglyphs used as thresholds. Accordingly, in this article, I will point to one of the legends related to ancient Egyptian antiquities that have been reused in medieval Cairo due to its magical powers, the Story al-Hawd al-Marsud and of the Lovers Fountain Sarcophagus.
Global Islamic Archaeology Showcase Online Event - Centre for Islamic Archaeology - University of Exeter|26th of Sep. & 3rd of Oc. 2020
Inscriptions are considered one of the most defined features in Islamic culture and are used to d... more Inscriptions are considered one of the most defined features in Islamic culture and are used to decorate works of art and architecture created in Islamic countries. These inscriptions serve numerous functions, aside from their aesthetic value, such as documenting dates and proclaiming ownership and patronage. Arabic inscriptions, often imitated in European art and architecture, are considered a foreign and unique style of decorative patterns used during the Middle Ages to ornament some coins, textiles, and architecture in Byzantine Europe. The inscriptions were usually meaningless, consisting of letters of Kufic script; one of the most prominent and earlier types of Arabic scripts. These false Arabian inscriptions were known as “pseudo-Kufic” or “pseudo-Arabic”. The presence of pseudo-Arabic inscriptions as decorative patterns of some medieval Byzantine churches in European countries became more common from the thirteenth to the fifteenth century, where they are found mostly as brick designs in exterior walls. Many examples still exist in Spain, Italy, France, Greece and other European countries. Art historians considered the function of the imitated Arabic inscriptions as meaningless decorative patterns. However, some scholars regarded the other examples of these inscriptions that contain meaningful phrases or words convey a particular significant symbol related to the Islamic presence in Europe. It may affirm a visual identity of Islamic culture in the regions over which medieval Muslims held dominion or had a neighbouring interaction and exchange. Based on the previous explanations; the lecture aims to examine types of Arabic epigraphic patterns, located in Italy and Greece Medieval churches as a case study, to understand the significance of these inscriptions as an image of the Islamic culture in European visual art. Keywords: Arabic Inscriptions - Medieval European Churches - Islamic Culture - pseudo-Kufic - decorative pattern.
«إسهامات أعضاء لجنة حفظ الآثار العربية المصريين في دراسة النقوش الكتابية الإسلامية، أعمال ندوة "ر... more «إسهامات أعضاء لجنة حفظ الآثار العربية المصريين في دراسة النقوش الكتابية الإسلامية، أعمال ندوة "رواد دراسة النقوش العربية والإسلامية.. المصريون والعرب»، 18-19 ديسمبر 2019، مكتبة الإسكندرية، 2022، ص 32-37.
Journal of Archaeology and Tourism (JAT) Journal, 2022
احتوت العمارة الإسلامية في مصر، وبالتحديد مدينة القاهرة، جانبًا من التراث المعماري السابق عليها، ... more احتوت العمارة الإسلامية في مصر، وبالتحديد مدينة القاهرة، جانبًا من التراث المعماري السابق عليها، احتضنت المناسب لها منه كما هو، أو كيفته من جديد لأجل الاستفادة من كافة موارد البناء المتاحة، بتوظيفها في تشييد منشآت جديدة، والتي تضمنت كافة العناصر المعمارية القديمة. لذا، دخل في عمارة عددًا من مساجد القاهرة، أعمدة منقولة من منشآت مسيحية، تحمل تيجانها زخارف مسيحية؛ منها ما هو منقوش عليه الصليب، ومنها ما هو منقوش عليه طائر بشكل حمامة أو نسر. وتهدف الورقة البحثية إلى بيان وجه من أوجه التفاعل بين الآثار القبطية والإسلامية، كنموذج للتواصل الحضاري بين مصر القبطية ومصر الإسلامية ممثلاً في فن العمارة، عبر استعراض نماذج من تلك الأعمدة في مساجد القاهرة، بهدف إلقاء الضوء على استعمال تلك العناصر المعمارية المسيحية من منظور الشريعة الإسلامية، للوقوف على دلالات استخدامها في منشآت ذات طبيعة وظيفية دينية. مما يعد شاهدًا على الطابع المدني للفن الإسلامي الذي استوعب التراث المعماري السابق عليه، فإن كانت الدوافع العملية الاقتصادية هي المحرك الأول لتعامل المسلمون مع تلك العناصر المعمارية باعتبارها مواد بناء؛ فهي على جانب آخر تمثل نموذج للتأثير المتبادل بين التراث المعماري القبطي والثقافة الإسلامية، بما تشمله من مفاهيم التسامح والعدل واحترام الأديان.
Islamic architecture in Egypt, specifically in the city of Cairo, through the successive eras of the Islamic civilization, included parts of the former architectural heritage, where it has comprised the appropriate elements as it is, or re-adapted it to take advantage of all available building resources, which included ancient architectural elements. Therefore, a set of columns transferred from Christian edifices to the mosques of Cairo, where their capitals engraved with Christian symbols such as the cross, the bird in the shape of a pigeon or an eagle. Accordingly, the research paper aims at explaining the one of the aspects of interaction between Coptic and Islamic monuments in the ages of Islamic civilization, as a model of the connection between the Coptic and Islamic Egypt represented in the architecture, by studying examples of these columns with Christian symbols reused in mosques in Cairo. In order to shed light on the usage of those Christian architecture elements from the perspective of Islamic law, and to find out the significance of its use in religious functional buildings. These architecture elements stand as a witness of the civil character of Islamic art, which absorbed the former architectural heritage. Although, the practical- economic motives were the primary incentive for Muslims to deal with those architectural elements as building materials; it considered on the other hand a prototype of the mutual influence between the Coptic architectural heritage and Islamic culture, including the concepts of tolerance, justice and respect for religions.
تعد التکية المولوية بالقاهرة مثال فريد من العمائر في الشکل والتصميم والوظيفة، والنموذج الکامل من ... more تعد التکية المولوية بالقاهرة مثال فريد من العمائر في الشکل والتصميم والوظيفة، والنموذج الکامل من التکايا الذي أنشأ خصيصًا للاحتفال الطقسي والحضرة المولوية، فضلاً عن باقي المکونات المعمارية للتکية؛ سواء المدفن أو مبنى الخدمات أو خلوات الصوفية التي تحتفظ بشکلها وسماتها وعمارتها الأصلية. کما تعتبر مثالاً حيًا على روعة هذا النمط المعماري من المنشآت الذي يجمع بين الشعر والموسيقى والشعائر الإسلامية المفعمة بالطقوس الصوفية. تلک المنشأة الشاهدة على بهاء عمارة العصر المملوکي الزاهرة ممثلة في القبة والمئذنة الأصلية، وسمات العمارة العثمانية المميزة في فن عمارة القباب وزخرفتها؛ والتي قام دراويش الطريقة المولوية باستخدامها خلال الفترة من القرن السابع عشر إلى القرن العشرين. وتأسيسًا على ما سبق؛ يهدف هذا البحث إلى دراسة تلک المنشأة المعمارية الفريدة من نوعها؛ فهي واحدة من النماذج الکاملة والأخيرة من مثيلاتها من العمائر وهو نمط التکايا العثمانية في مصر. تعالج الورقة البحثية عبر استخدام المنهج الأثري التحليلي أهمية تلک المنشأة معماريًا وفنيًا باعتبارها رمزًا للعمارة والفنون الصوفية في مصر، حيث تلقي الضوء بصورة موجزة أولاً على الطريقة المولوية کأحد الطرق الصوفية في مصر إبان العصر العثماني، ثم تتبع تاريخ تشييد المجموعة المعمارية قبل بناء التکية المولوية. وترتکز الدراسة بصفة رئيسية على بحث تاريخ وعمارة مسرح الدراويش، بغرض إبراز ما تضمنته تلک المنشأة من رمزية معمارية، وفنون زخرفية عثمانية، وکتابات دُونت بالحرف العربي بخطوط فارسية، تعد تجسيدًا حقيقيًا لروح الطريقة الصوفية المولوية في مصر
GIAS is an online conference for postgraduate and early-careers researchers to present their rese... more GIAS is an online conference for postgraduate and early-careers researchers to present their research on Islamic archaeology and material culture to a global audience. Initially intended as a one-day event GIAS will now be held over two consecutive Saturdays to accommodate the large number of fantastic abstracts received and fulfil the goal of providing a platform to as many speakers as possible. There are just under 40 papers covering a broad range of topics-from shipwrecks to inscriptions, architecture to ceramics-spanning the continents of Africa, Asia and Europe, from the 7 th to 20 th centuries.
Many of the medieval mosques and other Islamic monuments of Cairo are richly decorated with reuse... more Many of the medieval mosques and other Islamic monuments of Cairo are richly decorated with reused ancient Egyptian monuments. Mamluk rulers employed ancient objects in their architectural constructions and sponsored scholarly writings on ancient Egyptian culture to associate themselves with what they deemed the positive aspects of this culture. During the Mamluk period, reused objects from ancient buildings were prominently displayed on the exterior and interior of buildings, especially the Egyptian spolia that was extensively employed in Mamluk architecture. A majority of these reused elements feature hieroglyphic inscriptions that are displayed in full view. In medieval popular culture, Egypt was a repository of great knowledge in science, medicine, and magic. It was a realm of wonders where spectacular, magical events occurred and wondrous treasures were buried, protected by elaborate magical spells. Scholars, rulers, travelers, and people from all levels of society shared a fascination with ancient Egyptian writing which was associated with certain magical powers. The association of Egyptian antiquities with magic powers, which persisted in popular belief, is reflected in another culture of spolia that was used for apotropaic purposes. Magic powers that could be either propitious or harmful continue to be attributed to ancient Egyptian objects to the present day, such as the famous “Curse of the Pharaohs” that was believed to be set by archaeologists and other persons involved with ancient artifacts. Many medieval mosques still had blocks inscribed with hieroglyphs used as thresholds. Accordingly, in this article, I will point to one of the legends related to ancient Egyptian antiquities that have been reused in medieval Cairo due to its magical powers, the Story al-Hawd al-Marsud and of the Lovers Fountain Sarcophagus.
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Arabic inscriptions, often imitated in European art and architecture, are considered a foreign and unique style of decorative patterns used during the Middle Ages to ornament some coins, textiles, and architecture in Byzantine Europe. The inscriptions were usually meaningless, consisting of letters of Kufic script; one of the most prominent and earlier types of Arabic scripts. These false Arabian inscriptions were known as “pseudo-Kufic” or “pseudo-Arabic”.
The presence of pseudo-Arabic inscriptions as decorative patterns of some medieval Byzantine churches in European countries became more common from the thirteenth to the fifteenth century, where they are found mostly as brick designs in exterior walls. Many examples still exist in Spain, Italy, France, Greece and other European countries.
Art historians considered the function of the imitated Arabic inscriptions as meaningless decorative patterns. However, some scholars regarded the other examples of these inscriptions that contain meaningful phrases or words convey a particular significant symbol related to the Islamic presence in Europe. It may affirm a visual identity of Islamic culture in the regions over which medieval Muslims held dominion or had a neighbouring interaction and exchange.
Based on the previous explanations; the lecture aims to examine types of Arabic epigraphic patterns, located in Italy and Greece Medieval churches as a case study, to understand the significance of these inscriptions as an image of the Islamic culture in European visual art.
Keywords: Arabic Inscriptions - Medieval European Churches - Islamic Culture - pseudo-Kufic - decorative pattern.
وتهدف الورقة البحثية إلى بيان وجه من أوجه التفاعل بين الآثار القبطية والإسلامية، كنموذج للتواصل الحضاري بين مصر القبطية ومصر الإسلامية ممثلاً في فن العمارة، عبر استعراض نماذج من تلك الأعمدة في مساجد القاهرة، بهدف إلقاء الضوء على استعمال تلك العناصر المعمارية المسيحية من منظور الشريعة الإسلامية، للوقوف على دلالات استخدامها في منشآت ذات طبيعة وظيفية دينية. مما يعد شاهدًا على الطابع المدني للفن الإسلامي الذي استوعب التراث المعماري السابق عليه، فإن كانت الدوافع العملية الاقتصادية هي المحرك الأول لتعامل المسلمون مع تلك العناصر المعمارية باعتبارها مواد بناء؛ فهي على جانب آخر تمثل نموذج للتأثير المتبادل بين التراث المعماري القبطي والثقافة الإسلامية، بما تشمله من مفاهيم التسامح والعدل واحترام الأديان.
Islamic architecture in Egypt, specifically in the city of Cairo, through the successive eras of the Islamic civilization, included parts of the former architectural heritage, where it has comprised the appropriate elements as it is, or re-adapted it to take advantage of all available building resources, which included ancient architectural elements. Therefore, a set of columns transferred from Christian edifices to the mosques of Cairo, where their capitals engraved with Christian symbols such as the cross, the bird in the shape of a pigeon or an eagle.
Accordingly, the research paper aims at explaining the one of the aspects of interaction between Coptic and Islamic monuments in the ages of Islamic civilization, as a model of the connection between the Coptic and Islamic Egypt represented in the architecture, by studying examples of these columns with Christian symbols reused in mosques in Cairo. In order to shed light on the usage of those Christian architecture elements from the perspective of Islamic law, and to find out the significance of its use in religious functional buildings. These architecture elements stand as a witness of the civil character of Islamic art, which absorbed the former architectural heritage. Although, the practical- economic motives were the primary incentive for Muslims to deal with those architectural elements as building materials; it considered on the other hand a prototype of the mutual influence between the Coptic architectural heritage and Islamic culture, including the concepts of tolerance, justice and respect for religions.
وتأسيسًا على ما سبق؛ يهدف هذا البحث إلى دراسة تلک المنشأة المعمارية الفريدة من نوعها؛ فهي واحدة من النماذج الکاملة والأخيرة من مثيلاتها من العمائر وهو نمط التکايا العثمانية في مصر. تعالج الورقة البحثية عبر استخدام المنهج الأثري التحليلي أهمية تلک المنشأة معماريًا وفنيًا باعتبارها رمزًا للعمارة والفنون الصوفية في مصر، حيث تلقي الضوء بصورة موجزة أولاً على الطريقة المولوية کأحد الطرق الصوفية في مصر إبان العصر العثماني، ثم تتبع تاريخ تشييد المجموعة المعمارية قبل بناء التکية المولوية. وترتکز الدراسة بصفة رئيسية على بحث تاريخ وعمارة مسرح الدراويش، بغرض إبراز ما تضمنته تلک المنشأة من رمزية معمارية، وفنون زخرفية عثمانية، وکتابات دُونت بالحرف العربي بخطوط فارسية، تعد تجسيدًا حقيقيًا لروح الطريقة الصوفية المولوية في مصر
During the Mamluk period, reused objects from ancient buildings were prominently displayed on the exterior and interior of buildings, especially the Egyptian spolia that was extensively employed in Mamluk architecture. A majority of these reused elements feature hieroglyphic inscriptions that are displayed in full view.
In medieval popular culture, Egypt was a repository of great knowledge in science, medicine, and magic. It was a realm of wonders where spectacular, magical events occurred and wondrous treasures were buried, protected by elaborate magical spells. Scholars, rulers, travelers, and people from all levels of society shared a fascination with ancient Egyptian writing which was associated with certain magical powers.
The association of Egyptian antiquities with magic powers, which persisted in popular belief, is reflected in another culture of spolia that was used for apotropaic purposes. Magic powers that could be either propitious or harmful continue to be attributed to ancient Egyptian objects to the present day, such as the famous “Curse of the Pharaohs” that was believed to be set by archaeologists and other persons involved with ancient artifacts. Many medieval mosques still had blocks inscribed with hieroglyphs used as thresholds.
Accordingly, in this article, I will point to one of the legends related to ancient Egyptian antiquities that have been reused in medieval Cairo due to its magical powers, the Story al-Hawd al-Marsud and of the Lovers Fountain Sarcophagus.
Arabic inscriptions, often imitated in European art and architecture, are considered a foreign and unique style of decorative patterns used during the Middle Ages to ornament some coins, textiles, and architecture in Byzantine Europe. The inscriptions were usually meaningless, consisting of letters of Kufic script; one of the most prominent and earlier types of Arabic scripts. These false Arabian inscriptions were known as “pseudo-Kufic” or “pseudo-Arabic”.
The presence of pseudo-Arabic inscriptions as decorative patterns of some medieval Byzantine churches in European countries became more common from the thirteenth to the fifteenth century, where they are found mostly as brick designs in exterior walls. Many examples still exist in Spain, Italy, France, Greece and other European countries.
Art historians considered the function of the imitated Arabic inscriptions as meaningless decorative patterns. However, some scholars regarded the other examples of these inscriptions that contain meaningful phrases or words convey a particular significant symbol related to the Islamic presence in Europe. It may affirm a visual identity of Islamic culture in the regions over which medieval Muslims held dominion or had a neighbouring interaction and exchange.
Based on the previous explanations; the lecture aims to examine types of Arabic epigraphic patterns, located in Italy and Greece Medieval churches as a case study, to understand the significance of these inscriptions as an image of the Islamic culture in European visual art.
Keywords: Arabic Inscriptions - Medieval European Churches - Islamic Culture - pseudo-Kufic - decorative pattern.
وتهدف الورقة البحثية إلى بيان وجه من أوجه التفاعل بين الآثار القبطية والإسلامية، كنموذج للتواصل الحضاري بين مصر القبطية ومصر الإسلامية ممثلاً في فن العمارة، عبر استعراض نماذج من تلك الأعمدة في مساجد القاهرة، بهدف إلقاء الضوء على استعمال تلك العناصر المعمارية المسيحية من منظور الشريعة الإسلامية، للوقوف على دلالات استخدامها في منشآت ذات طبيعة وظيفية دينية. مما يعد شاهدًا على الطابع المدني للفن الإسلامي الذي استوعب التراث المعماري السابق عليه، فإن كانت الدوافع العملية الاقتصادية هي المحرك الأول لتعامل المسلمون مع تلك العناصر المعمارية باعتبارها مواد بناء؛ فهي على جانب آخر تمثل نموذج للتأثير المتبادل بين التراث المعماري القبطي والثقافة الإسلامية، بما تشمله من مفاهيم التسامح والعدل واحترام الأديان.
Islamic architecture in Egypt, specifically in the city of Cairo, through the successive eras of the Islamic civilization, included parts of the former architectural heritage, where it has comprised the appropriate elements as it is, or re-adapted it to take advantage of all available building resources, which included ancient architectural elements. Therefore, a set of columns transferred from Christian edifices to the mosques of Cairo, where their capitals engraved with Christian symbols such as the cross, the bird in the shape of a pigeon or an eagle.
Accordingly, the research paper aims at explaining the one of the aspects of interaction between Coptic and Islamic monuments in the ages of Islamic civilization, as a model of the connection between the Coptic and Islamic Egypt represented in the architecture, by studying examples of these columns with Christian symbols reused in mosques in Cairo. In order to shed light on the usage of those Christian architecture elements from the perspective of Islamic law, and to find out the significance of its use in religious functional buildings. These architecture elements stand as a witness of the civil character of Islamic art, which absorbed the former architectural heritage. Although, the practical- economic motives were the primary incentive for Muslims to deal with those architectural elements as building materials; it considered on the other hand a prototype of the mutual influence between the Coptic architectural heritage and Islamic culture, including the concepts of tolerance, justice and respect for religions.
وتأسيسًا على ما سبق؛ يهدف هذا البحث إلى دراسة تلک المنشأة المعمارية الفريدة من نوعها؛ فهي واحدة من النماذج الکاملة والأخيرة من مثيلاتها من العمائر وهو نمط التکايا العثمانية في مصر. تعالج الورقة البحثية عبر استخدام المنهج الأثري التحليلي أهمية تلک المنشأة معماريًا وفنيًا باعتبارها رمزًا للعمارة والفنون الصوفية في مصر، حيث تلقي الضوء بصورة موجزة أولاً على الطريقة المولوية کأحد الطرق الصوفية في مصر إبان العصر العثماني، ثم تتبع تاريخ تشييد المجموعة المعمارية قبل بناء التکية المولوية. وترتکز الدراسة بصفة رئيسية على بحث تاريخ وعمارة مسرح الدراويش، بغرض إبراز ما تضمنته تلک المنشأة من رمزية معمارية، وفنون زخرفية عثمانية، وکتابات دُونت بالحرف العربي بخطوط فارسية، تعد تجسيدًا حقيقيًا لروح الطريقة الصوفية المولوية في مصر
During the Mamluk period, reused objects from ancient buildings were prominently displayed on the exterior and interior of buildings, especially the Egyptian spolia that was extensively employed in Mamluk architecture. A majority of these reused elements feature hieroglyphic inscriptions that are displayed in full view.
In medieval popular culture, Egypt was a repository of great knowledge in science, medicine, and magic. It was a realm of wonders where spectacular, magical events occurred and wondrous treasures were buried, protected by elaborate magical spells. Scholars, rulers, travelers, and people from all levels of society shared a fascination with ancient Egyptian writing which was associated with certain magical powers.
The association of Egyptian antiquities with magic powers, which persisted in popular belief, is reflected in another culture of spolia that was used for apotropaic purposes. Magic powers that could be either propitious or harmful continue to be attributed to ancient Egyptian objects to the present day, such as the famous “Curse of the Pharaohs” that was believed to be set by archaeologists and other persons involved with ancient artifacts. Many medieval mosques still had blocks inscribed with hieroglyphs used as thresholds.
Accordingly, in this article, I will point to one of the legends related to ancient Egyptian antiquities that have been reused in medieval Cairo due to its magical powers, the Story al-Hawd al-Marsud and of the Lovers Fountain Sarcophagus.