53http://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullBlue and White Ceramic Dish with Floral Motifs16th centuryStonepaste, pigmentsOttoman ceramic design, known as Iznik ware after the city in which it was produced, was heavily influenced by Chinese blue-and-white porcelain. With delicate, blue peonies swimming in interlacing stems, the design of this Ottoman dish mimics the characteristic of Ming porcelain during the Yongle period of the early 1400s. This type of porcelain is characterized by intricately sculpted flowers with jagged-edged leaves.Ceramicshttp://collection.shangrilahawaii.org/objects/3724/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullCusped-Rim Polychrome Ceramic Dish with Floral and Saz Leaf Motifs16th centuryStonepaste, polychrome pigmentsThe lively, floral composition of this dish is composed of red carnations, blue spotted tulips, and a spray of blue hyacinths with a broken stem. Iznik potters incorporated broken stems into their composition as a clever way of including more naturalistic elements within circular design. This naturalistic floral style is associated with Kara Memi (fl. 1545-66 CE), an Ottoman artist who was head of the royal workshop called the nakkaşhane during the reign of Suleyman the Magnificent. The rim of the dish is embellished by a wave-and-rock pattern. This motif, which frequently appears in Iznik wares, was influenced by Chinese porcelain, especially of the Ming dynasty (1368–1644 CE).Ceramicshttp://collection.shangrilahawaii.org/objects/3681/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Ceramic Dish with Central "Fish Scale" Arabesque16th centuryStonepaste, polychrome pigmentsIn the late fifteenth century, Iznik potters developed a distinct ceramic tradition known as Iznik ware, in which a stonepaste vessel was coated in a slip (thinned siliceous clay), painted in colorful glazes and additional slips, and covered with a transparent glaze. The entire surface of this Iznik vessel is covered in a fish-scale pattern, a design popular in the late 1500s. The rim features a wave and rock pattern inspired by Chinese models.Ceramicshttp://collection.shangrilahawaii.org/objects/3729/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Dish with Confronted Peacocks16th - 17th centuryStonepaste, polychrome pigmentsThis Iznik ware dish is decorated with a design featuring two confronted peacocks against a bright, turquoise ground. The birds rest on a central flower-filled vase flanked on either side by flowering stems. The rim of the plate is embellished by a rock-and-wave pattern, a Chinese-inspired motif that is frequently featured in Iznik pottery. The reverse is adorned with alternating blue blossoms and turquoise tulips. The designs of Iznik ware were typically created by artists in the imperial court, called the nakkaşhane. These designs were disseminated throughout all forms of Ottoman arts, such as textiles, jewelry, book arts, and ceramics. Although this type of pottery was primarily produced in the town of Iznik in western Anatolia (modern-day Turkey), workshops producing these brightly colored ceramics sprang up throughout the provinces of the vast Ottoman empire, including in Jerusalem,, Damascus (Syria) and Diyarbakir (Turkey).Ceramicshttp://collection.shangrilahawaii.org/objects/3727/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Tile Panel with Floral and Grape Motifs16th - 17th centuryStonepaste, polychrome pigmentsThis tile panel is adorned with lattices punctuated by cartouches containing flower-filled vases. Leafy grape vines weave throughout the lattices, intertwining with blue tulips. The narrow border is lined with a woven vine motif. Until the 1550s, Ottoman ceramic production focused primarily on vessels. After Suleyman the Magnificent commissioned his architect Sinan to build a mosque complex called Suleymaniye (completed in 1557 CE), bright and colorful tiles began to adorn the walls of buildings. This type of tile spread throughout the vast Ottoman empire from Istanbul to Aleppo. Tiles took on regional differences. For example, tiles produced in Syria are characterized by their use of delicate greens, turquoise, and manganese purple. Popular designs included large-scale floral patterns and vases overflowing with flowers. Ceramicshttp://collection.shangrilahawaii.org/objects/3684/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Tile Panel with Hanging Lamp, Vase, and Floral Motifs17th centuryStonepaste, polychrome pigmentsThis incomplete tile assemblage has elements identical to more complete panels created for the Ottoman-era Yeni Camii (New Mosque) in Istanbul, Turkey. Those artworks, created in the 1660s following the mosque’s reconstruction after a devastating fire, are composed of eleven square-shaped ceramic tiles, with a baluster vase at the bottom and a hanging lamp at the top. Although identical to the smaller Shangri La panel, they have seven additional tiles of lush foliage climbing between the two objects. Those floral tiles are mostly missing from the set in Honolulu, which retains only one such vegetal square. They may have been removed from this set prior to its purchase at auction. The palette of greens, blues, and white is cool and restrained, characteristic of later production from the royal kilns at Iznik. The original location of these panels seems to have been on one of the covered porticos of the mosque, underneath small mihrab niches with muqarnas decoration. Several complete panels remain in place today. This architectural association informs their interpretation: In Qur’an 24:36, the presence of God is likened to a lamp in a niche: "Allah is the light of the Heavens and the earth. The similitude of His light is as a niche wherein is a lamp…”Ceramicshttp://collection.shangrilahawaii.org/objects/3582/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullCusped-Rim Polychrome Ceramic Dish with Floral and Saz Leaf Motifs16th centuryStonepaste, underglaze-painted over a slip coatingThis Iznik ware dish has an almost symmetrical design, with a central spray of roses encircled by a curving stem of blue hyacinths. These are outlined by two large green leaves in the saz style and red hyacinth stems. The border incorporates a "rock-and-wave" pattern inspired by Chinese porcelain. Iznik ware was produced between the 1408s and about 1700. The earliest designs were heavily influenced by Chinese blue-and-white porcelain design. Ottoman artists eventually incorporated an array of lively floral motifs and bright colors — deep blue, green, manganese purple, and turquoise — into their designs, establishing a new aesthetic. The bright, tomato-red hue was introduced in the 1550s. This color was created by applying an earthy, iron-rich clay called Armenian bole. The artist applied large amounts of this pigment prior to firing creating a textured effect on the surface. Ceramicshttp://collection.shangrilahawaii.org/objects/3679/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullDishc. 1580Stonepaste, underglaze-painted over a slip coatingThis deep, brightly colored dish represents a type of pottery known as Iznik ware. Originated in the town of Iznik in present-day Turkey, these wares are known for their bright colors and lively designs. This dish features a ground filled with green and blue scales. Two feather-like leaves with serrated edges criss cross across the dish. This style, known as saz, is attributed to Shah Quli, an immigrant artist from Iran who was employed as head of the Ottoman court during the reign of Suleiman the Magnificent (r.1520–1566 CE).Ceramicshttp://collection.shangrilahawaii.org/objects/3730/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Bowl with Leaping Hares and Seated Cheetahs16th centuryStonepaste, underglaze-painted over a slip coatingThis dish is playfully decorated with a lively scene of seated cheetahs and bounding hares on a bright, turquoise ground. The dish represents a type of pottery known as Iznik ware that originated in the town of Iznik in present-day Turkey. These wares were produced between the 1480s and about 1700. While floral motifs dominate the decorative schemes Iznik ware, a wider range of motifs — including animals, ships, architectural motifs, mythical creatures, and even humans — appeared towards the end 1500sCeramicshttp://collection.shangrilahawaii.org/objects/3680/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Ceramic Dish with Confronted Peacocks16th - 17th centuryStonepaste, underglaze-painted over a slip coatingThis Iznik ware dish is decorated with a design featuring two confronted peacocks against a bright, turquoise ground. The birds rest on a central flower-filled vase flanked on either side by flowering stems. The rim of the plate is embellished by a rock-and-wave pattern, a Chinese-inspired motif that frequently features in Iznik pottery. While designs incorporating flowering plants dominated Iznik designs, animal imagery also appeared in the late 1500s, possibly originating from animal motifs found on metalwork from the Balkans from the 1300s and 1400s. Ceramicshttp://collection.shangrilahawaii.org/objects/3726/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Gilded and Cut-Glass Decanter with Finial Stopper19th centuryColored and colorless glass, pigments, gildingThis crystal glass decanter (one of a pair) is made from clear blue and white glass, and painted with swirling designs illuminated with gold leaf. This type of vessel would have decorated wealthy Syrian homes in the 1800s and 1900s. Carved crystal glass vessels like this one were commonly produced in factories in Bohemia, although they were also exported from other parts of Europe for sale to the Ottoman market.Glasshttp://collection.shangrilahawaii.org/objects/3705/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded and Cut-Glass Hookah Base19th century Cut glass, gildingThis nargile base (one of a pair) is embellished by bands of decorative incisions, gilt floral motifs and small stars. It was created in Beykoz (a district of Istanbul) in the nineteenth century. Nargile is the Turkish word for a tobacco pipe (also called a hookah, shisha, or hubble bubble). It is used by drawing smoke through a long pipe through a base containing water. The practice of nargile smoking erupted in Istanbul during the early 1600s and became an essential element of coffee houses where men from across all social strata gathered to pass time, socialize, and engage in political discourse.Glasshttp://collection.shangrilahawaii.org/objects/5404/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded Cut-Glass Bottle with Floral MotifsDated 1227 AH (1812 CE)Cut glass, gildingThis nargile (water pipe) base (one of a pair) has a rounded base resting on a circular foot. Its long, fluted neck is gilded with small floral blossoms and a band containing a cartouche. Alternating bands of gilded floral motifs and decoratively cut patterns encircle the base. This object was created in Ottoman Istanbul in the nineteenth century. During this time, goods from Europe had flooded the Ottoman market. Intent on revitalizing and modernizing Ottoman industry, Sultan Selim III (r. 1789-1807 CE) issued edicts to promote the use of local goods and established modernized factories in Istanbul, including glass factories in the district of Beykoz. European glassmakers were brought to Istanbul to offer technical and scientific advice, and soon, Ottoman-made glass appeared in original colors, shapes and sizes. “Beykoz glass” was typically embellished by cutting, gilding and enameling, conveying a sense of luxury. Glasshttp://collection.shangrilahawaii.org/objects/5402/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded Cut-Glass Bottle with Floral MotifsDated 1227 AH / 1812 CECut glass, gildingThis nargile (water pipe) base (one of a pair) has a rounded base resting on a circular foot. Its long, fluted neck is gilded with small floral blossoms and a band containing a cartouche. Alternating bands of gilded floral motifs and decoratively cut patterns encircle the base. This object was created in Ottoman Istanbul in the nineteenth century. During this time, goods from Europe had flooded the Ottoman market. Intent on revitalizing and modernizing Ottoman industry, Sultan Selim III (r. 1789-1807 CE) issued edicts to promote the use of local goods and established modernized factories in Istanbul, including glass factories in the district of Beykoz. European glassmakers were brought to Istanbul to offer technical and scientific advice, and soon, Ottoman-made glass appeared in original colors, shapes and sizes. “Beykoz glass” was typically embellished by cutting, gilding and enameling, conveying a sense of luxury. Glasshttp://collection.shangrilahawaii.org/objects/3706/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded Cut-Glass Decanter19th century Cut glass, gildingThis glass decanter (one of a pair) has a rounded base and long neck topped with a finial stopper. The glass is decoratively cut in a lattice pattern filled with gilded floral motifs surrounding large roundels. By the nineteenth century, the Ottoman empire was rapidly industrializing as new products and technology arrived from Europe. The market was flooded with European products, including fine glassware. To bypass the need for European glass, Ottoman Sultan Selim III (r. 1789-1807 CE) sent a Sufi dervish named Mehmed Dede to Venice to acquire knowledge of glassmaking. Factories producing glassware subsequently opened in Beykoz near Istanbul. These workshops produced both traditional products, such as rose water sprinklers, laledans (vases for tulips), ewers, and hanging lamps, as well as newer products, such as smelling salt bottles, candy dishes, and commerical medicine bottles.Glasshttp://collection.shangrilahawaii.org/objects/5274/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded Cut-Glass Decanter19th century Cut glass, gildingThis glass decanter (one of a pair) has a rounded base and long neck topped with a finial stopper. The glass is decoratively cut in a lattice pattern filled with gilded floral motifs surrounding large roundels. By the nineteenth century, the Ottoman empire was rapidly industrializing as new products and technology arrived from Europe. The market was flooded with European products, including fine glassware. To bypass the need for European glass, Ottoman Sultan Selim III (r. 1789-1807 CE) sent a Sufi dervish named Mehmed Dede to Venice to acquire knowledge of glassmaking. Factories producing glassware subsequently opened in Beykoz near Istanbul. These workshops produced both traditional products, such as rose water sprinklers, laledans (vases for tulips), ewers, and hanging lamps, as well as newer products, such as smelling salt bottles, candy dishes, and commerical medicine bottles.Glasshttp://collection.shangrilahawaii.org/objects/3732/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullHexagonal Glass Decanter with Finial Stopper19th centuryGlassThis glass decanter (one of a pair) has a rounded base and long, hexagonal neck topped with a tall finial stopper. It rests on a hexagonal foot. These decanters were produced in Poland for the Ottoman market. Since the 1500s, Venice had been the primary source of imported glass throughout Islamic lands, but by the mid-1700s, Bohemia became the leading supplier of these commodities. European goods were fashionable among the Ottoman elite. This pair of decanters would have been displayed in the homes of upper- and middle class families.Glasshttp://collection.shangrilahawaii.org/objects/5436/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullHexagonal Glass Decanter with Finial Stopper19th centuryGlassThis glass decanter (one of a pair) has a rounded base and long, hexagonal neck topped with a tall finial stopper. It rests on a hexagonal foot. These decanters were produced in Poland for the Ottoman market. Since the 1500s, Venice had been the primary source of imported glass throughout Islamic lands, but by the mid-1700s, Bohemia became the leading supplier of these commodities. European goods were fashionable among the Ottoman elite. This pair of decanters would have been displayed in the homes of upper- and middle class families.Glasshttp://collection.shangrilahawaii.org/objects/5437/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Gilded and Cut-Glass Decanter with Finial Stopper19th century GlassThis crystal glass decanter (one of a pair) is made from clear blue and white glass, and painted with swirling designs illuminated with gold leaf. This type of vessel would have decorated wealthy Syrian homes in the 1800s and 1900s. Carved crystal glass vessels like this one were commonly produced in factories in Bohemia, although they were also exported from other parts of Europe for sale to the Ottoman market.Glasshttp://collection.shangrilahawaii.org/objects/5401/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded and Cut-Glass Hookah Base19th century Glass, gildingThis nargile base (one of a pair) is embellished by bands of decorative incisions, gilt floral motifs and small stars. It was created in Beykoz (a district of Istanbul) in the nineteenth century. Nargile is the Turkish word for a tobacco pipe (also called a hookah, shisha, or hubble bubble). It is used by drawing smoke through a long pipe through a base containing water. The practice of nargile smoking erupted in Istanbul during the early 1600s and became an essential element of coffee houses where men from across all social strata gathered to pass time, socialize, and engage in political discourse.Glasshttp://collection.shangrilahawaii.org/objects/5405/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullWood and Polychrome Glass Window with Geometric Motifs19th centuryGlass, woodVivid colored glass windows were popular during the Safavid and Qajar dynasties of Iran. These windows, called orosi, are composed using a technique called gereh-sāzī, meaning “knot-making, in which colored glass is set in a lattice frame composing an intricate, geometric pattern.” Orosi windows feature in both religious and vernacular architecture, found in mosques, madrasas (schools), and private residences. One of the most spectacular examples of orosi in Qajar architecture is the Nasir al-Mulk Mosque (also known as the Pink Mosque) in Shiraz, Iran where the multicolored glass creates mosaics of light throughout the interior.Glasshttp://collection.shangrilahawaii.org/objects/3682/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPlaster and Polychrome Glass Window with Architectural and Vegetal Motifs19th centuryPlaster, colored glassThis ornate stained glass window, called a qamariya in Arabic, was created in either Syria, Egypt or Turkey under Ottoman rule. Its design depicts a domed building in between two cypress trees. Two small minaret-like forms flank the dome and the base of the building, indicating that it may represent a mosque. Qamariya were created by artisans who shaped the crystal glass with diamond and affixed the colorful pieces into a frame of gypsum plaster. This type of window appeared in domestic homes of the late Ottoman dynasty where their many multicolored facets illuminated the colorful interiors.Glasshttp://collection.shangrilahawaii.org/objects/3683/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullBronze and Polychrome Glass Hanging Lamp19th - 20th centuryCopper alloy, glassThis magnificent hanging lamp illuminates the Ottoman gallery with multicolored light filtered through decorative perforations and lobed openings filled with multicolored glass. The lamp is topped with a domed shade and supported by ornate chains. The circular sockets at the bottom of the lamp would have originally held long, cylindrical blown-glass lamps. This type of lamp originated with the master metalworkers of the Mamluk period in Egypt and Syria (1250–1517 CE). In the nineteenth and twentieth centuries, the art and architecture of the Mamluk period experienced a revival, in part because of a growing demand from European and American museums, collectors, and tourists. Western Orientalist painters depicted objects in this style in their fantastical depictions of the Islamic world. For example, a large, pierced metal lamp is documented in a painting by Spanish painter, Antonio Maria Fabres y Costa (1854–1938) in his Lighting the Lamp.Metalworkhttp://collection.shangrilahawaii.org/objects/3668/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPierced and Enameled Copper Hanging Lamp19th - 20th centuryEnameled copper alloy, glassThis hanging lamp (one of a pair) is made of copper and covered in blue, white, and turquoise enamel. The lamp is supported by five beaded chains and pierced throughout with tiny perforations that allow light to shine through. The lamp is inscribed with the Bismillah: "In the name of God, the Most Gracious, the Most Merciful." This phrase is recited before each chapter or sura of the Quran. بسم الله الرحمن الرحيم This type of lamp would have been used to illuminate mosques and religious buildings — an essential function as the first prayers of the day are held before sunrise and the last prayers after sunset. Metalworkhttp://collection.shangrilahawaii.org/objects/5407/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPierced and Enameled Copper Hanging Lamp19th - 20th centuryEnameled copper alloy, glassThis hanging lamp (one of a pair) is made of copper and covered in blue, white, and turquoise enamel. The lamp is supported by five beaded chains and pierced throughout with tiny perforations that allow light to shine through. The lamp is inscribed with the Bismillah: "In the name of God, the Most Gracious, the Most Merciful." This phrase is recited before each chapter or sura of the Quran. بسم الله الرحمن الرحيم This type of lamp would have been used to illuminate mosques and religious buildings — an essential function as the first prayers of the day are held before sunrise and the last prayers after sunset. Metalworkhttp://collection.shangrilahawaii.org/objects/3669/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Marble Inlaid Floor and Wall Panelsc. 1800Marble, stone inlayThe floor and wall panels of the Ottoman Gallery were created from historical marble panels as well as modern panels custom-made for this space. Created as the “Syrian room” for Shangri La, the floor was created to accompany the acquisition of an interior of an ‘ataba — or reception hall — from Ottoman Damascus, dating to the middle of the 1800s. The elaborate, geometric designs of the marble tiles were created using a technique called opus sectile, or “stone mosaic” in which mother-of-pearl is inlaid to marble. Arriving in unmarked boxes, the jigsaw-like pieces were assembled by workmen of Hawaiʻi - and some of the resulting motifs very closely resemble traditional Hawaiian quilt patterns more than typically Ottoman geometric design. Stoneworkhttp://collection.shangrilahawaii.org/objects/5419/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Marble Inlaid Fountainc. 1800-1850Marble, stone inlay, mother-of-pearlThis octagonal, marble fountain was assembled from historic and custom-made marble panels. Like every surface of an affluent Damascene home, the fountain is adorned in intricate patterns of geometric forms and floral motifs. The technique used to create these designs is called opus sectile, or “stone mosaic.” The marble is inlaid with glimmering mother-of-pearl, gilding, and multi-colored stones, a style popular in Damascus beginning in the mid-1700s. The fountain occupies the 'ataba — or antechamber — of the Ottoman Gallery at Shangri La, created from architectural elements of a qa’a, or reception hall of a Damascus home. The ‘ataba is entered from the courtyard. Residents and visitors would enjoy the bubbling fountain from the adjacent, raised seating area called the tazar.Stoneworkhttp://collection.shangrilahawaii.org/objects/3672/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullCarved Wooden Panel with Central 12-Pointed Star Medallion15th centuryWoodThis intricate mosaic panel was carved in Iran in the 1400s during the rule of the Timurid dynasty (1370–1507 CE). The symmetrical, geometric pattern consists of a central 12-pointed star and radiating polygons of different shapes and sizes. The larger shapes are carved with scrolling arabesques, while the smaller shapes remain unadorned. The technique used to create mosaic panels, called gereh-sāzī, was employed to embellish ceilings and minbars (pulpits) in mosques, palaces, and private residences. The geometric motifs found in woodworking appear in other arts, such as tile making, plasterwork, and stone masonry.Woodworkhttp://collection.shangrilahawaii.org/objects/3666/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPair of Mother-of-Pearl Inlaid Wooden Bath Clogs (Qabqab)19th centuryWood, mother of pearl, metal wireThis pair of wooden clogs, called qabqāb in Arabic, are inlaid with mother-of-pearl, a speciality of shoemakers, or qabāqībī, in Damascus. The qabāqībī carved the clogs from willow or walnut wood, tracing the outline of the wearer’s foot and carving the clog to the correct size and shape. This type of footwear was worn in bathhouses to protect the wearer from hot, wet floors, and also (when worn with thick socks and soft leather “undershoes”) protected the wearer's feet from muddy streets in the winter. This pair lacks the leather straps needed to secure the shoes to the wearer’s feet.Woodworkhttp://collection.shangrilahawaii.org/objects/4013/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullCarved Wooden Doors with Tessellated Geometric Motifs19th centuryWood, polychrome pigmentsThis pair of wooden doors is densely decorated with symmetrical geometric patterns, featuring 10-pointed stars and radiating polygons. Each shape is carved from a single piece of wood with beveled edges and a textured surface. The pieces are secured into a framework of lighter wood. On the back of the door, thicker pieces of wood overlap to provide further support. Once part of a home in Ottoman-era Damascus, these doors were the original entryway into the qa’a, or reception hall.Woodworkhttp://collection.shangrilahawaii.org/objects/5430/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded and Polychrome Painted Carved Wooden Ceiling Cornice18th - 19th centuryWood, polychrome pigmentsOriginally created for another room of Shangri La, these carved wooden brackets now occupy the four corners of the Ottoman gallery. The ceilings of traditional domestic reception halls in Damascus are typically very tall, a feature designed to retain cool air throughout the day. When the former “Damascus Room” (now the Qajar Gallery) was retrofitted into one of Shangri La’s guest rooms in the 1950s, the ceiling was too low to include these ornate elements. They were installed almost 25 years later when Doris Duke installed the former “Syrian Room” (now the Ottoman Gallery) in the late 1970s-80s.Woodworkhttp://collection.shangrilahawaii.org/objects/6369/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullGilded Polychrome Wooden Arch with Wheat Motif19th centuryWood, polychrome pigmentsThis pair of arches, located within the qa’a of the Ottoman gallery, are decorated with symmetrical stalks of gilded wheat. A naturalistic style of ornamentation evolved in Istanbul in the 1700s when Ottoman artists were especially influenced by the Baroque and Rococo styles of Europe.Woodworkhttp://collection.shangrilahawaii.org/objects/7821/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Carved Wooden Star PanelWood, polychrome pigmentsWoodworkhttp://collection.shangrilahawaii.org/objects/5432/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Carved Wooden Star PanelWood, polychrome pigmentsWoodworkhttp://collection.shangrilahawaii.org/objects/5433/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Painted Wooden Moulding19th centuryWood, polychrome pigmentsThe wooden, painted moulding lines the wall of the Ottoman Gallery, visually separating the vibrant ‘ajami wood paneling from the tall, white wall and richly decorated ceiling. The moulding is composed of multiple layers with lobed edges. The art of woodworking thrived in the hands of Syrian artists throughout Islamic period, continuing into the 1900s when Greater Syria was under Ottoman rule. The Syrian skill in woodworking can be seen in ornate objects, such as these carved qabqab (clogs), to the richly decorated interiors of upper-class Damascene homes.Woodworkhttp://collection.shangrilahawaii.org/objects/5434/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panel with Floral Motifs19th centuryWood, polychrome pigmentsThis detail of a painted panel from the Ottoman Gallery depicts rich red, pink and blue floral motifs illuminated with gold leaf against a pink ground. The 1700s saw a new, naturalistic style of floral ornamentation. This period was known as the "Tulip Era,” as tulips — along with other flowers such as hyacinths, rose buds, and carnations — bloomed on every surface of Ottoman art, from pottery to textiles.Woodworkhttp://collection.shangrilahawaii.org/objects/7817/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panel with Vegetal MotifsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis panel (one of a pair), is located on the wall of the qa’a, or reception hall, of the Ottoman gallery. It is decorated with a tall, gilded plant in a stout vase. This type of decoration was influenced by Ottoman Istanbul. Ottoman motifs such as vases overflowing with naturalistic flowers, bowls filled with fruit, cornucopias, and architectural vignettes were featured on the walls of the wealthy in Damascus. The artistic styles of Istanbul would have traveled to the Ottoman province of Damascus via traveling artisans. Wealthy merchants would have been eager to keep the walls of their splendid reception halls up-to-date with the trends of the Ottoman capital.Woodworkhttp://collection.shangrilahawaii.org/objects/5428/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panel with Vegetal MotifsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis panel (one of a pair), is located on the wall of the qa’a, or reception hall, of the Ottoman gallery. It is decorated with a tall, gilded plant in a stout vase. This type of decoration was influenced by Ottoman Istanbul. Ottoman motifs such as vases overflowing with naturalistic flowers, bowls filled with fruit, cornucopias, and architectural vignettes were featured on the walls of the wealthy in Damascus. The artistic styles of Istanbul would have traveled to the Ottoman province of Damascus via traveling artisans. Wealthy merchants would have been eager to keep the walls of their splendid reception halls up-to-date with the trends of the Ottoman capital.Woodworkhttp://collection.shangrilahawaii.org/objects/6365/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThese ornate wooden panels lining the Ottoman gallery are decorated using a technique called ‘ajami, a style of decoration that often embellished the walls of private homes in Damascus during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the doorst contains an Arabic inscription in gilded thuluth script: Above: And of these the names for Adam Below: For you are the mothers and the fathers. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/5416/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsWoodworkhttp://collection.shangrilahawaii.org/objects/5411/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis small, shuttered wall closet, called a khazāna or dūlāb, would have been used for storage within the qa’a, or reception hall, of a private home in Ottoman Damascus. The wooden panels are decorated using a technique called ‘ajami, a style of decoration that was used to embellish the walls of Damascene homes during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the closet contains an Arabic inscription in gilded thuluth script: You are in the unique (orphan) 1271 AH (1855 AD) The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6354/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis decorative niche (one of four) is called a kutbīyya (from the Arabic word kitāb, meaning book). It is designed to display books and precious objects within the qa’a, or reception hall, of a private home in Ottoman Damascus. Now located in the Ottoman gallery, it now holds brightly colored Iznik ceramics, fine glassware, and Ottoman textiles. The wooden panels surrounding the kutbīyya are decorated using a technique called ‘ajami, a technique in which gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the kutbīyya contains an Arabic inscription in gilded thuluth script: We were like the stars of heaven. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6357/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis small, shuttered wall closet, called a khazāna or dūlāb, would have been used for storage within the qa’a, or reception hall, of a private home in Ottoman Damascus. The wooden panels are decorated using a technique called ‘ajami, a style of decoration that was used to embellish the walls of Damascene homes during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the khazāna contains an Arabic inscription in gilded thuluth script: Your traits have been portrayed to the people. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6355/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis small, shuttered wall closet, called a khazāna or dūlāb, would have been used for storage within the qa’a, or reception hall, of a private home in Ottoman Damascus. The wooden panels are decorated using a technique called ‘ajami, a style of decoration that was used to embellish the walls of Damascene homes during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the khazāna contains an Arabic inscription in gilded thuluth script: It was emulated by the stars of Gemini. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6356/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis decorative niche (one of four) is called a kutbīyya (from the Arabic word kitāb, meaning book). It is designed to display books and precious objects within the qa’a, or reception hall, of a private home in Ottoman Damascus. Now located in the Ottoman gallery, it now holds brightly colored Iznik ceramics, fine glassware, and Ottoman textiles. The wooden panels surrounding the kutbīyya are decorated using a technique called ‘ajami, a technique in which gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the kutbīyya contains an Arabic inscription in gilded thuluth script: You are still in the conscience of existence wandering. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6358/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis decorative niche (one of four) is called a kutbīyya (from the Arabic word kitāb, meaning book). It is designed to display books and precious objects within the qa’a, or reception hall, of a private home in Ottoman Damascus. Now located in the Ottoman gallery, it now holds brightly colored Iznik ceramics, fine glassware, and Ottoman textiles. The wooden panels surrounding the kutbīyya are decorated using a technique called ‘ajami, a technique in which gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the kutbīyya contains an Arabic inscription in gilded thuluth script: You are a lantern for all virtues. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6359/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThis decorative niche (one of four) is called a kutbīyya (from the Arabic word kitāb, meaning book). It is designed to display books and precious objects within the qa’a, or reception hall, of a private home in Ottoman Damascus. Now located in the Ottoman Gallery, it now holds brightly colored Iznik ceramics, fine glassware, and Ottoman textiles. The wooden panels surrounding the kutbīyya are decorated using a technique called ‘ajami, a technique in which gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the kutbīyya contains an Arabic inscription in gilded thuluth script: Only from your source does light shine. The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6360/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Arabic Poetry InscriptionsDated 1271 AH (1854-1855 CE)Wood, polychrome pigmentsThese ornate wooden panels lining the Ottoman Gallery are decorated using a technique called ‘ajami, a style of decoration that flourished in private Damascene homes during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf. The panel above the doors contains an Arabic inscription in gilded thuluth script: The eras marvel about you as you rise high (above) Oh heaven unreached by other heavens (below) The inscription is part of a poem by Abū ʿAbdallāh Muhammad ibn Saʿīd al-Shanhājī al-Būṣīrī (1211–1294 CE). Al-Būṣīrī was a Moroccan-born Egyptian poet known for his poetry in praise of the Prophet Mohammed. The verse is continued on panels throughout the room. Woodworkhttp://collection.shangrilahawaii.org/objects/6362/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Panels with Vegetal MotifsDated 1271 AH (1854 - 1855 CE)Wood, polychrome pigmentsThese ornate wooden panels lining the Ottoman gallery are decorated using a technique called ‘ajami, a style of decoration that flourished in private Damascene homes during the rule of the Ottoman empire. In this technique, gesso is applied to the woodwork in relief, painted with washes of brightly colored glazes, and illuminated with metal leaf.Woodworkhttp://collection.shangrilahawaii.org/objects/6361/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullCarved Wooden Ceiling and Muqarnas Squinches with Gilded, Painted, and Mirror Insets ('Ajami Technique)18th centuryWood, polychrome pigments, gildingInteriors of affluent homes in Damascus were typically decorated from top to bottom. The ceiling overlooking the ‘ataba, or antechamber, of the Ottoman Gallery is no exception. The ceiling is composed of long, decorated planks of wood framed with muqarnas, a honeycomb vault-like embellishment that often appears in architecture throughout the Islamic world. The painting technique used to decorate the ceiling is known as ‘ajami, a technique wherein gesso is applied in relief, illuminated with metal leaf, and tinted with colorful glazes. As visitors move through the room, light glimmers and dances off of the illuminated surfaces and the tiny mirrors inlaid into the surface of the ceiling. Today, the decoration of the wooden ceiling appears dark brown with muted tones due to a layer of varnish applied at a later date. Made of natural resins, the varnish darkened the surface color over time. The original, unvarnished ceiling would have been bright and colorful. Woodworkhttp://collection.shangrilahawaii.org/objects/6368/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome Wooden Ceiling Panels with Vegetal Motifs19th centuryWood, polychrome pigments, gildingThis painted, wooden ceiling overlooks the tazar, the raised seating area within the Ottoman gallery. The ceiling is painted with multicolored vegetal motifs. Originally, these paintings would have been bright and colorful. Today the colors appear subdued due to varnish applied at a later date. The tazar ceiling is separated from the rest of the room by high white walls, offset by colorful glass windows. At home in Damascus, the ceilings of reception halls like this one are typically very tall; some of the largest reception halls reach 32 feet (10 meters)! The height of the ceiling is related to the function of the room, helping to retain cool air throughout the day for the comfort of the occupants and their guests.Woodworkhttp://collection.shangrilahawaii.org/objects/8720/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome, Gilded, and Mirrored Wooden Doors with Vegetal Motifs19th centuryWood, polychrome pigments, mirrored glassThese ornate, gilded shutters are located in the qa’a, or reception hall, of the Ottoman gallery. At home in Damascus, they would have concealed a wall closet called samandara in Arabic. In traditional Syrian homes, rooms served multiple purposes. Both rich and poor families ate, entertained guests, and slept in a single space. During the day, items such as bedding and clothing were stowed away. Large cupboards such as these could accommodate larger items such as mattresses and blankets. The doors of this samandara are decorated with gilded vegetal and architectural designs embellished by mirror glass. This style, influenced by European taste, is known as “Ottoman Baroque'' in Syria, which was under Ottoman rule between 1516 - 1918 CE.Woodworkhttp://collection.shangrilahawaii.org/objects/3671/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58322/fullPolychrome, Gilded, and Mirrored Wooden Doors with Vegetal Motifs19th centuryWood, polychrome pigments, mirrored glassThese ornate, gilded shutters are located in the qa’a, or reception hall, of the Ottoman gallery. At home in Damascus, they would have concealed a wall closet called samandara in Arabic. In traditional Syrian homes, rooms served multiple purposes. Both rich and poor families ate, entertained guests, and slept in a single space. During the day, items such as bedding and clothing were stowed away. Large cupboards such as these could accommodate larger items such as mattresses and blankets. The doors of this samandara are decorated with gilded vegetal and architectural designs embellished by mirror glass. This style, influenced by European taste, is known as “Ottoman Baroque'' in Syria, which was under Ottoman rule between 1516 - 1918 CE.Woodworkhttp://collection.shangrilahawaii.org/objects/5418/rdf