Books by Ellen Kenney
Power and Patronage in Mamluk Syria, 2009
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Chapters by Ellen Kenney
S. Mehrez, ed., In the Shoes of the Other: Interdisciplinary Essays in Translation Studies from Cairo, 2019
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D. Behrens-Abouseif, ed., The Arts of the Mamluks in Egypt and Syria , 2012
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Papers by Ellen Kenney
International journal of Islamic architecture, Jul 1, 2018
In the 1975 iteration of the Islamic art galleries at the Metropolitan Museum of Art (the Met), c... more In the 1975 iteration of the Islamic art galleries at the Metropolitan Museum of Art (the Met), curators assembled historical architectural elements, mainly from eighteenth-and nineteenth-century Damascus, to create a Damascene period room that came to be known as the 'Nur al-Din Room'. Positioned near the introductory gallery, the room captured the imagination of museum visitors, who felt transported through space and time by its romantic allure. Only the most specialized of visitors would have known the extent to which the 'Nur al-Din Room' represented a pastiche incorporating elements from different interiors and periods, or that its previous owners remained anonymous. For the reinstallation of the Islamic galleries, which opened in fall 2011, the room was entirely dismantled and reassembled after receiving conservation treatment. It was positioned in a new location within the galleries and was reconfigured to better reflect the original layout of its main elements: a group of wooden wall panels decorated with a colourful relief technique known as 'ajami. Information about this technique, eighteenth-and nineteenth-century Damascus and its residential architecture, as well as the collection and display history of the room itself, is provided on a touch-screen inside the space.
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Der Islam, Mar 30, 2021
Abstract Often distinguished by their characteristic five-petalled rosette emblems, objects dedic... more Abstract Often distinguished by their characteristic five-petalled rosette emblems, objects dedicated to the Rasūlid sultans of Yemen in Egypt or Syria have long been identified as a distinct corpus in histories of Islamic art. Whether treated singly or as a group, these objects have usually been positioned in the periphery of discussions about Mamlūk luxury arts or cited briefly as evidence of diplomatic relations between the Mamlūk and Rasūlid leadership. Perhaps reflecting a general marginalization of South Arabia in the historiographic traditions of Islamic art scholarship, narratives centered on the imperial Mamlūk enterprise tend to overshadow both the Rasūlid context for these objects and the complexities of their global material histories. This essay explores these two themes together, drawing broadly on visual culture connected with the Rasūlid court to analyze a selection of case studies. It reviews art historical literature on the Rasūlid-Mamlūk corpus as reflected in European and North American scholarship, outlines the various modalities by which this material exchange is understood to have taken place, explores the setting for Rasūlid patronage and collection of such objects, and examines their material afterlives.
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Turkish Historical Review
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INTRODUCTION Sayf al-D|n Tankiz al-Na≠s ̋ir| governed the province of Syria and played a central ... more INTRODUCTION Sayf al-D|n Tankiz al-Na≠s ̋ir| governed the province of Syria and played a central role in the polity of al-Na≠s ̋ir Muh ̋ammad Ibn Qala≠wu≠n throughout most of the sultan's lengthy third reign. Installed as na≠’ib al-sha≠m in 712/1312–13, Tankiz remained in this post until his deposition in 741/1340. An active architectural patron, Tankiz initiated numerous restoration projects, infrastructural endeavors, and new buildings throughout the Syrian province. The pattern of his patronage has shown him to be not only a prolific builder, but also a sophisticated planner whose individual projects were predicated on long-range urban development schemes. This building program constituted one of the primary tools in the construction of the patron's public image. Moreover, Tankiz's patronage played a significant role in the development of Mamluk urban and architectural design. However, the corpus of Tankiz al-Na≠s ̋ir|'s architectural work is represented today by ...
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Annual of the …, 2007
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Der Islam, 2021
Often distinguished by their characteristic five-petalled rosette emblems, objects dedicated to t... more Often distinguished by their characteristic five-petalled rosette emblems, objects dedicated to the Rasūlid sultans of Yemen in Egypt or Syria have long been identified as a distinct corpus in histories of Islamic art. Whether treated singly or as a group, these objects have usually been positioned in the periphery of discussions about Mamlūk luxury arts or cited briefly as evidence of diplomatic relations between the Mamlūk and Rasūlid leadership. Perhaps reflecting a general marginalization of South Arabia in the historiographic traditions of Islamic art scholarship, narratives centered on the imperial Mamlūk enterprise tend to overshadow both the Rasūlid context for these objects and the complexities of their global material histories. This essay explores these two themes together, drawing broadly on visual culture connected with the Rasūlid court to analyze a selection of case studies. It reviews art historical literature on the Rasūlid-Mamlūk corpus as reflected in European and North American scholarship, outlines the various modalities by which this material exchange is understood to have taken place, explores the setting for Rasūlid patronage and collection of such objects, and examines their material afterlives.
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Mamluk Studies Review, 2017
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Art History Pedagogy and Practice , 2016
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Mamluk Studies Review, 2007
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International Journal of Islamic Architecture, 2018
In the 1975 iteration of the Islamic art galleries at the Metropolitan Museum of Art (the Met), c... more In the 1975 iteration of the Islamic art galleries at the Metropolitan Museum of Art (the Met), curators assembled historical architectural elements, mainly from eighteenth-and nineteenth-century Damascus, to create a Damascene period room that came to be known as the 'Nur al-Din Room'. Positioned near the introductory gallery, the room captured the imagination of museum visitors, who felt transported through space and time by its romantic allure. Only the most specialized of visitors would have known the extent to which the 'Nur al-Din Room' represented a pastiche incorporating elements from different interiors and periods, or that its previous owners remained anonymous. For the reinstallation of the Islamic galleries, which opened in fall 2011, the room was entirely dismantled and reassembled after receiving conservation treatment. It was positioned in a new location within the galleries and was reconfigured to better reflect the original layout of its main elements: a group of wooden wall panels decorated with a colourful relief technique known as 'ajami. Information about this technique, eighteenth-and nineteenth-century Damascus and its residential architecture, as well as the collection and display history of the room itself, is provided on a touch-screen inside the space.
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Artibus Asiae , 2006
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Studies in the History and Archaeology of Jordan, 2009
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Journals/Magazines by Ellen Kenney
ACOR Newsletter, 2006
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International Journal of Islamic Architecture, 2018
https://www.intellectbooks.com/international-journal-of-islamic-architecture
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