19http://collection.shangrilahawaii.org/internal/media/dispatcher/15549/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/56744/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/56754/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/56743/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/56745/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/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/56734/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/56749/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/56732/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/17739/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/56747/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/56746/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/56748/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/56742/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/56741/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/56739/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/56730/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/56740/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/56733/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/56731/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/rdf