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The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography

The arts of the Mamluks are considered a particularly rich field of study stretching over a nearly three hundred year period. Diverse in their make-up, the progression and development of this art began with strong Ayyubid influences that quickly evolved into a style that was uniquely Mamluk. While m...

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Main Author: Peruski, Jennifer
Format: Thesis
Published: AUC Knowledge Fountain 2014
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access_status_str Open Access
author Peruski, Jennifer
author_browse Peruski, Jennifer
author_facet Peruski, Jennifer
author_sort Peruski, Jennifer
collection Thesis
dc_rights_str_mv The author retains all rights with regard to copyright. The author certifies that written permission from the owner(s) of third-party copyrighted matter included in the thesis, dissertation, paper, or record of study has been obtained. The author further certifies that IRB approval has been obtained for this thesis, or that IRB approval is not necessary for this thesis. Insofar as this thesis, dissertation, paper, or record of study is an educational record as defined in the Family Educational Rights and Privacy Act (FERPA) (20 USC 1232g), the author has granted consent to disclosure of it to anyone who requests a copy.
description The arts of the Mamluks are considered a particularly rich field of study stretching over a nearly three hundred year period. Diverse in their make-up, the progression and development of this art began with strong Ayyubid influences that quickly evolved into a style that was uniquely Mamluk. While many historians have argued that figural imagery all but disappeared in these later progressions of Mamluk art, most notably following the reign of the Mamluk sultan al-Nasir Muhammad (1309-1341), the reality of these conclusions is much more complex. Indeed, the lack of conclusively dated materials from these later periods has been a significant factor in these early claims regarding Mamluk figural imagery. However, given the recent study released by Rachel Ward that re-dated Medieval Syrian and Egyptian glass, as well as a careful reexamination of other portable arts of this period, it becomes clear that the production of anthropomorphic and zoomorphic imagery was by no means halted during the reign of al-Nasir Muhammad, but rather was relegated to artwork that did not bear the official court titulature of amirs and sultans. In this sense, figural imagery played a important, albeit secondary, role in the visual expressions of the Mamluk ruling elite.
format Thesis
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institution American University in Cairo (Egypt)
last_indexed 2026-06-10T12:35:44.926Z
license_str Other — see source repository
provenance_str_mv Harvested via OAI-PMH from AUC Knowledge Fountain — bepress
publishDate 2014
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spelling oai:fount.aucegypt.edu:etds-1877 The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography Peruski, Jennifer The arts of the Mamluks are considered a particularly rich field of study stretching over a nearly three hundred year period. Diverse in their make-up, the progression and development of this art began with strong Ayyubid influences that quickly evolved into a style that was uniquely Mamluk. While many historians have argued that figural imagery all but disappeared in these later progressions of Mamluk art, most notably following the reign of the Mamluk sultan al-Nasir Muhammad (1309-1341), the reality of these conclusions is much more complex. Indeed, the lack of conclusively dated materials from these later periods has been a significant factor in these early claims regarding Mamluk figural imagery. However, given the recent study released by Rachel Ward that re-dated Medieval Syrian and Egyptian glass, as well as a careful reexamination of other portable arts of this period, it becomes clear that the production of anthropomorphic and zoomorphic imagery was by no means halted during the reign of al-Nasir Muhammad, but rather was relegated to artwork that did not bear the official court titulature of amirs and sultans. In this sense, figural imagery played a important, albeit secondary, role in the visual expressions of the Mamluk ruling elite. 2014-06-01T07:00:00Z thesis application/pdf https://fount.aucegypt.edu/etds/878 https://fount.aucegypt.edu/context/etds/article/1877/viewcontent/JenniferPeruski_ThesisFull.pdf The author retains all rights with regard to copyright. The author certifies that written permission from the owner(s) of third-party copyrighted matter included in the thesis, dissertation, paper, or record of study has been obtained. The author further certifies that IRB approval has been obtained for this thesis, or that IRB approval is not necessary for this thesis. Insofar as this thesis, dissertation, paper, or record of study is an educational record as defined in the Family Educational Rights and Privacy Act (FERPA) (20 USC 1232g), the author has granted consent to disclosure of it to anyone who requests a copy. Theses and Dissertations AUC Knowledge Fountain Islamic art Mamluk . .
spellingShingle Islamic art
Mamluk . .
Peruski, Jennifer
The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title_full The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title_fullStr The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title_full_unstemmed The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title_short The supposed dissipation of figural imagery in Mamluk art: a study of Mamluk iconography
title_sort supposed dissipation of figural imagery in mamluk art a study of mamluk iconography
topic Islamic art
Mamluk . .
url https://fount.aucegypt.edu/etds/878
https://fount.aucegypt.edu/context/etds/article/1877/viewcontent/JenniferPeruski_ThesisFull.pdf
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