By Jens Kröger
The urban of Nishapur, positioned in japanese Iran, was once a spot of political significance in medieval occasions and a flourishing heart of artwork, crafts, and alternate. Excavated by means of the Iranian excursion of the Metropolitan Museum in 1935-40 and back in 1947, the location yielded a wealth of artifacts. This quantity is the fourth in a chain issued by means of the Museum to post the excavated reveals. The gadgets are actually divided among The Metropolitan Museum of paintings in big apple and the Iran Bastan Museum in Tehran. The Nishapur reveals date from exactly the time whilst Islamic glass-making in Iran was once at its best. Glass items of exceptional caliber have been unearthed, in addition to an strangely huge variety of unpretentious, strictly practical vessels that evoke the everyday life in their vendors. the 1st component of the publication surveys glass of the early Islamic interval during the close to East, examines the excavation websites at Nishapur, and discusses the importance of the Nishapur glass findings. within the catalogue part, the several glass-decorating concepts are defined and the glass items came across at Nishapur are defined, illustrated in photos and line drawings, and analyzed for kind and impression, with supplementary illustrations and whole references to the scholarly literature. An appendix contributed via Robert H. Brill of the Corning Museum of Glass uses chemical analyses to shed additional mild at the glass chanced on at Nishapur.
The e-book additionally features a map and placement plans, a thesaurus, a concordance, and an in depth bibliography.
(This e-book was once initially released in 1995/96.)
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Extra resources for Nishapur: Glass of the Early Islamic Period
They were torturers. They placed torture in their service, but even more frequently they were its servants. I saw it in their serious tense faces, which were not swelling with sexual sadistic delight but concentrated in murderous self-realization. With heart and soul they went about their business and the name of it was power. Dominion over spirit and flesh, orgy of unchecked self- expansion. . Jeffery interrupts the monologue and again feeds Goulish the lines of a joke, whispering loudly through his megaphone: “I had a dream last night.
So I said, ‘Forget the chicken. ’ So he brings the lobster. ’ And Wooden Legs 43 Figure 8. Goat Island (Litó Walkey, Matthew Goulish, Bryan Saner, and Karen Christopher), When will the September roses bloom? Last night was only a comedy, 2005. Courtesy of Matthew Goulish. ’” As Goulish shouts this joke, he is bent at the waist, his hands flung up behind his back, imitating the pose in which Améry was tortured. Another performer, Bryan Saner, walks across the stage to Goulish’s bent body, reaches into the sleeves of his suit coat, and pulls out two long-stemmed red roses (Figure 8).
But this mastery and erect posture are disabled by another actor, Litó Walkey, who insists on placing the first actor’s foot on a small crutch and the wrist of her left hand palm up on another larger crutch (Figure 5). Walkey then assumes a pose in which she uses her own right arm as a crutch for her left, positioning her own wrist into the crook between her thumb and forefinger. By turns the two actors recite in German and then in English lines from a poem by Paul Celan. In this scene, the actor played by Christopher, who is signaled by this stock theatrical pose that seems to have been taken, like so many things in Goat Island’s performances, from elsewhere, is defined by the control she exerts over her own body and over her audience.
Nishapur: Glass of the Early Islamic Period by Jens Kröger