By Freya Stark
This can be the tale of back-country Turkey, a space that even within the twentieth century continues to be stubbornly tied to antiquity. the writer traveled via it by means of truck and horseback, usually on my own. She reached locations little visited and not written approximately. the rustic humans welcomed her with generosity unrelated to their meager resources.
She was once touring in time besides, and located value in recalling the lifetime of Alexander the nice. Twenty-two centuries in the past he was once the 1st to dream of a united global.
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Additional resources for Alexander's Path
One such household icon of the Archangel Gabriel, dated 1790, survives at the Coptic Museum in Cairo. 57 This was not essentially for aesthetic purposes but mainly for religious ones. An icon in a house gave its inhabitants blessings and could be seen as a protection from adversity. Private collections could potentially form a signiﬁcant market for these objects. Our protagonist, Yuhanna al-Armani, too, was involved in these privately commissioned works, and painted icons that were to be placed in individual homes.
Catherine, as many of them visited this monastery on their way to Jerusalem on pilgrimage. For her, there were many foreign artists on the local scene producing icons for elite Coptic clients. 18 Thus, although the channels of transmission may vary, there is agreement among these scholars with regard to the importance of outside inﬂuences on the work of Yuhanna and on the cultural revival during the eighteenth century. Moreover, most art historians have tended to date to the period a large number of unsigned and undated icons that share a similar style with the work of Yuhanna and Ibrahim al-Nasikh.
However, a number of subjects have so far not been explored. Among them is the history of art in various parts of the Ottoman Empire. Though several studies have focused on the history of Ottoman architecture, the history of painting has not received much attention. Furthermore, while a number of studies have explored the arts of the Ottoman courts, artistic production outside the courts of the sultans, in other words the works produced for other than the ruling classes, has not been explored. Thus, it is not possible to compare Egypt’s eighteenth-century icons with contemporary paintings from other provinces of the Ottoman Empire.
Alexander's Path by Freya Stark