 |
This article is actively undergoing a major edit for a short while. To help avoid edit conflicts, please do not edit this page while this message is displayed. Please remove this template if this page hasn't been edited in several days. If you are the editor who added this template, please be sure to remove it or replace it with Template:Tl between editing sessions. |
The ' "Aleppo room" is the Vertäfelung of a reception room from a dwelling house in Aleppo. It is beside Steinfassade of Mschatta the showpiece Museums for Islamic art in Pergamonmuseum in Berlin.
The "Aleppo room" comes from the "house Wakil". Still today this private house stands in the part of town predominantly inhabited by Christians syrischen city Aleppo, "al-Gudaida". The principal, a Christian trader called " Isa b. Butrus " („ " Jesus, son of Peter ' “) is mentioned inschriftlich. In an inscription he is called as ""simsar". This was a broker who took care of the fact that businessmen found buyer for her goods.
Whole bemalte wooden wainscoting of the room was acquired by the museum in person from Friedrich Sarre in 1912 for sale and was copied in Berlin completely with the original pieces. This wainscoting is from special meaning, because it is dated inschriftlich during the years 1600/01 and 1603. With it it is the oldest preserved example of her kind. The large part of the wainscotings existing even today comes from later times, 18. and early 19-th century, as for example also the " Damascus room ' of the collector Herbert M. Gutmann in Potsdam.
The representation space from which the Vertäfelung comes was the so-called " Qa ` a ", a representative reception room for guests. The space is a rectangular, level covered construction with dome. Inside she is made up of a square threshold area ("Ataba") which was laid out with coloured marble slabs as well as three raised seat areas ("Tazar"). In the middle of the threshold area stood a well which exists even today in the house in Aleppo.
The wooden wainscoting is 35 m long and 2.5 m high. She surrounded the lower part of the walls. The wainscoting is interrupted by 14 wooden doors (entrances, windows and cupboard doors). The construction is strictly symmetrical. The middle seat areas are equipped especially nobly and painted. The motives of the wainscoting painting are Christian as well as Islamic nature what speaks for the cooperation of the religions. There are scenes from Alten testament, imperious representations, literary motives and fable beings. The Christian motives are also scientific from special meaning because it gives an insight into the picture world of oriental Christians.
Creator of the painting was as from the inscriptions out goes, probably from Persien of coming artists called " Halab Seeing b. Isa ". For the Persian origin Arabian Sprache|arabischen]] speak according to the researchers not only the art style but also the spelling mistakes in [[. Indeed, easier paintings of assistants seem have been explained.
Inscription en give not only artist and principal again separate whole psalm en, sayings and poems. Two examples:
- „O the flat upon whose rooms the morning smiling showing breaks, laughing his white teeth! How many days I have been happy in your rooms, has moved back with all me to science and art conversation. While my rights in security was before her strokes of fate. And in my lefts was from the north wind cooled juice of the grape.“
- „God is with the generous. Who is generous, harvests generosity. “ „ The healing of the hearts is the meeting with the lover. “ „ The welfare of the person lies in the hat of the tongue. “ „ Complacency is a tip to the weakness of the mind.“
Literature 
Edit
- Julia Gonnella, Jens Kröger (Hrsg.): Angels, Peonies, and Fabulous Creatures. The Aleppo Room in Berlin. International Symposium of the Museum für Islamische Kunst - Staatliche Museen zu Berlin 12.-14. April 2002. Rhema, Münster, Westfalen 2008, ISBN 978-3-930454-82-2.
- Christian Ewert: Das Aleppo-Zimmer. Strukturen und Dekorelemente der Malereien im Aleppozimmer des Museums für Islamische Kunst in Berlin. In: Forschungen zur Islamischen Kunstgeschichte. Neue Folge, Nr. 1, 2006, ISBN 3-88609-564-9.
