Making Modernity in the Islamic Mediterranean PDF
Preview Making Modernity in the Islamic Mediterranean
Making ISLAMIC STUDIES, ART & ARCHITECTURE G r a v e s a n d S e The Islamic world’s artistic “With a geographic diversity reaching from the g g e traditions experienced profound Ottoman capital across North Africa, the essays r Modernity m in this book address a rich range of themes, from transformation in the 19th century a n emergent forms of modern historicism to original as rapidly developing technologies readings of objects and images that trouble and globalizing markets ushered in entrenched assumptions about aesthetic value. M drastic changes in technique, style, . . . The collective enterprise of this anthology a IN THE ISLAMIC transforms our understanding of what it meant to k and content. i be modern across the Islamic Mediterranean.” n g MEDITERRANEAN Despite the importance and ingenuity of —MARY ROBERTS, M these developments, the 19th century author of Istanbul Exchanges: Ottomans, o remains a gap in the history of Islamic Orientalists and Nineteenth-Century Visual Culture d art. To fi ll this opening in art historical e r scholarship, Making Modernity in the Islamic n Mediterranean charts transformations i in image-making, architecture, and craft t y production in the Islamic world from Fez to Margaret S. Graves is Associate Professor I Istanbul. Contributors focus on the shifting N of Art History and Adjunct Associate Professor methods of production, reproduction, T in Middle Eastern Languages and Cultures at circulation, and exchange artists faced as H Indiana University. She is author of Arts of Allusion: E they worked in fi elds such as photography, Object, Ornament, and Architecture in Medieval I weaving, design, metalwork, ceramics, and Islam (winner of the 2019 Annual Book Prize, S even transportation. L International Center of Medieval Art, and the 2021 A Karen Gould Prize, Medieval Academy of America). M Covering a range of media and a wide I C geographical spread, Making Modernity in Alex Dika Seggerman is Assistant Professor of M the Islamic Mediterranean reveals how 19th- Islamic Art History at Rutgers University–Newark. E century artists in the Middle East and North D She is author of Modernism on the Nile: Art in Africa reckoned with new tools, materials, I Egypt between the Islamic and the Contemporary. T and tastes from local perspectives. E R R A N Cover image: Collection Idéale P.S. postcard E of pupil at Madame Delfau’s Carpet-Making A School, Algiers, Algeria. Public domain. iupress.org N ISBN 9780253060341 90000 > Margaret S. Graves Alex Dika Seggerman Edited by and Printed in Korea 9 780253 060341 PRESS Making Modernity IN THE ISLAMIC MEDITERRANEAN MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 11 1111//2299//2211 1111::2222 AAMM MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 22 1111//2299//2211 1111::2222 AAMM Making Modernity IN THE ISLAMIC MEDITERRANEAN Margaret S. Graves Edited by Alex Dika Seggerman and Indiana University Press MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 33 1111//2299//2211 1111::2222 AAMM This book is a publication of Library of Congress Cataloging-in-Publication Data Indiana University Press Names: Graves, Margaret S., editor. | Office of Scholarly Publishing Seggerman, Alex Dika, editor. Herman B. Wells Library 350 Title: Making modernity in the Islamic Mediterranean / 1320 East 10th Street edited by Margaret S. Graves and Alex Dika Seggerman. Bloomington, Indiana 47405 USA Description: Bloomington, Indiana : Indiana University Press, [2022] | Includes bibliographical references and index. iupress.org Identifiers: LCCN 2021041042 (print) | LCCN 2021041043 (ebook) | ISBN 9780253060334 (hardback) | ISBN © 2022 by Indiana University Press 9780253060341 (paperback) | ISBN 9780253060358 (ebook) Subjects: LCSH: Art and society—Islamic All rights reserved countries—History—19th century. | Modernism No part of this book may be reproduced or utilized in (Aesthetics)—Islamic countries—History—19th any form or by any means, electronic or mechanical, century. | Art and society—Mediterranean Region— including photocopying and recording, or by any History—19th century. | Modernism (Aesthetics)— information storage and retrieval system, without Mediterranean Region—History—19th century. permission in writing from the publisher. Classification: LCC N72.S6 M28 2022 (print) | LCC N72.S6 (ebook) | DDC 701/.03—dc23 This book is printed on acid-free paper. LC record available at https://lccn.loc.gov/2021041042 LC ebook record available at https://lccn.loc.gov/2021041043 Manufactured in Korea First printing 2022 Publication of this book has been aided by grants from the Millard Meiss Publication Fund of CAA, the College Arts and Humanities Institute of Indiana University, and Ideas and Futures: A Collaborative for Just and Vibrant Societies. MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 44 1111//2299//2211 1111::2222 AAMM Contents Acknowledgments vii Note on Transliteration ix Introduction Making Modernity in the Islamic Mediterranean | Margaret S. Graves and Alex Dika Seggerman 1 Part One Picturing Knowledge 19 1 Well-Worn Fashions: Repetition and Authenticity in Late Ottoman Costume Books | Ünver Rüstem 21 2 Osman Hamdi Bey and the Long Duration of History | Gülru Çakmak 50 3 Picturing Knowledge: Visual Literacy in Nineteenth-Century Arabic Periodicals | Hala Auji 72 4 The Muybridge Albums in Istanbul: Photography as Diplomacy in the Ottoman Empire | Emily Neumeier 94 Part Two Conceptualizing Craft 115 5 The Double Bind of Craft Fidelity: Moroccan Ceramics on the Eve of the French Protectorate | Margaret S. Graves 117 6 The Manual Crafts and the Challenge of Modernity in Late Nineteenth-Century Damascus | Marcus Milwright 139 7 The Turn to Tapestry: Islamic Textiles and Women Artists in Tunis | Jessica Gerschultz 155 Part Three Aesthetics of Infrastructure 173 8 Alabaster and Albumen: Photographs of the Muhammad ‘Ali Mosque and the Making of a Modern Icon | Alex Dika Seggerman 175 9 Tents and Trains: Mobilizing Modernity in the Late Ottoman Empire | Ashley Dimmig 195 10 Precious Metal: The I-Beam in the Late Ottoman Empire | Peter H. Christensen 214 11 November 1869: The Suez Canal Inauguration | David J. Roxburgh 234 Timeline 257 Glossary 261 Index 265 MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 55 1111//2299//2211 1111::2222 AAMM MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 66 1111//2299//2211 1111::2222 AAMM Acknowledgments This book has its origins in an email exchange that took and the Art History Department’s Robert E. and Avis place in 2015, when Yael Rice put us in touch with each Tarrant Burke Fund. other as possible collaborators on a panel proposal for The guidance and support of our editors at Indiana the upcoming Historians of Islamic Art Association University Press, Jennika Baines and Sophia Hebert, Symposium at the Courtauld Institute in London. We have been invaluable in bringing this project to fruition. would like to express our gratitude to Sussan Babaie and Two anonymous reviewers who delivered thoughtful the HIAA 2016 committee for selecting our panel and to and constructive feedback made this a much better book. Holly Shaffer for presenting with us in London. At that Generous subvention funding from the College Art Asso- conference Ashley Dimmig first suggested we expand ciation’s Millard Meiss Publication Fund, CAHI, and Ideas the panel into an edited volume on nineteenth-century and Futures: A Collaborative for Just and Vibrant Societies Islamic art, and we are very grateful to her for planting has ensured this volume is a full-color pleasure to read. the idea that became this book. We also thank Ünver Alex thanks her colleagues in the Department of Rüstem and Barry Flood for important conversations in Arts, Culture and Media at Rutgers University and the the first stages of the project. staff at the American Research Center in Egypt and at In March 2018, we assembled the contributors to this Yale University’s Center for Middle East Studies for volume at Indiana University for a workshop to explore providing the time, space, and funding for this project. the themes emerging between individual research Margaret is grateful to her colleagues in the Department projects. We express our thanks to Ashley Dimmig for of Art History at Indiana University for their collegiality co-organizing that event and to Yasemin Gencer, Faye and support while she worked on this volume, especially Gleisser, Cordula Grewe, Paul Losensky, and Nancy during a 2018–19 sabbatical leave. Most of all, we thank Micklewright for their participation in our discussions. the contributors for their energetic and enthusiastic Having all those brains in one place was critical to the participation in shaping the book, not only through the development of this book, and it would have been impos- individual chapters they contributed but also through sible without the generous funding we received from collective discussion and debate about the strands the following organizations at Indiana University: New making up nineteenth-century modernity in the Islamic Frontiers in the Arts and Humanities, the College Arts Mediterranean. and Humanities Institute (CAHI), the Center for the We dedicate this book to our daughters, Adelina, Study of the Middle East, the Islamic Studies Program, Lucy, and Adela. Their brilliance, curiosity, and exuber- the Office of the Vice President for International Affairs, ance inspire us every day. vii MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 77 1111//2299//2211 1111::2222 AAMM MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 88 1111//2299//2211 1111::2222 AAMM Note on Transliteration This book uses a modified version of the International Journal of Middle East Studies (IJMES) transliteration system to render Arabic and Ottoman Turk- ish words into English. We have not used diacritics with the exception of ῾ for ῾ayn and ᾿ for hamza. Words from foreign languages have been italicized unless they are proper nouns or appear in the Merriam-Webster dictionary. For foreign words that appear in the Merriam-Webster—for example, ulema, waqf, and kiswa—we have used the spellings given in that dictionary. Dates are given in the Common Era calendar (CE) unless otherwise stated. ix MMaakkiinngg MMooddeerrnniittyy iinn tthhee IIssllaammiicc MMeeddiitteerrrraanneeaann..iinndddd 99 1111//2299//2211 1111::2222 AAMM
The list of books you might like
