What can one discover through the study of medieval Islamic coins? It appears that the regular gold dinars and silver dirhams issued by the Ikhshidid rulers of Egypt and Palestine (935-69) followed a series of understood but unwritten rules. As the first part of this book reveals, these norms involved whose names could appear on the regular currency, where the names could be placed (based upon a strict hierarchical order), and even which parts of a Muslim name could be included. The founder of the dynasty, Muhammad ibn Tughj, could use the honorific al-Ikhshid; his eldest son and successor could use his teknonym Abu al-Qasim; his brother, the third ruler, could use only his name Ali; and the eunuch Kafur, effective ruler of Egypt for over twenty years, could never inscribe his name on the regular coinage. At the same time, each one of these rulers was named in the Friday sermon and most had their teknonym inscribed on textiles. Presentation coins, the equivalent of modern commemorative pieces, could break all these rules, and a wide variety of titles appeared, as well as a series of coins with human representation. The second half of the book is a catalogue of over 1,200 specimens, enabling curators, collectors, and dealers to identify coins in their own collections and their relative rarity. Throughout the book numismatic pieces are illustrated, along with commentary on their inscriptions, layout, and metallic content.
What kind of property is art? Is it property at all? Jordanna Bailkin's The Culture of Property offers a new historical response to these questions, examining ownership disputes over art objects and artifacts during the crisis of liberalism in the United Kingdom. From the 1870s to the 1920s, Britons fought over prized objects from ancient gold ornaments dug up in an Irish field to a portrait of the Duchess of Milan at the National Gallery in London. They fought to keep these objects in Britain, to repatriate them to their points of origin, and even to destroy them altogether. Bailkin explores these disputes in order to investigate the vexed status of property within modern British politics as well as the often surprising origins of ongoing institutional practices. Bailkin's detailed account of these struggles illuminates the relationship between property and citizenship, which has constituted the heart of liberal politics as well as its greatest weakness. Drawing on court transcripts, gallery archives, exhibition reviews, private correspondence—and a striking series of cartoons and photographs—The Culture of Property traverses the history of gender, material culture, urban life, colonialism, Irish and Scottish nationalism, and British citizenship. This fascinating book challenges recent scholarship in museum studies in light of ongoing culture wars. It should be required reading for cultural policy makers, museum professionals, and anyone interested in the history of art and Britain.
What can one discover through the study of medieval Islamic coins? It appears that the regular gold dinars and silver dirhams issued by the Ikhshidid rulers of Egypt and Palestine (935-69) followed a series of understood but unwritten rules. As the first part of this book reveals, these norms involved whose names could appear on the regular currency, where the names could be placed (based upon a strict hierarchical order), and even which parts of a Muslim name could be included. The founder of the dynasty, Muhammad ibn Tughj, could use the honorific al-Ikhshid; his eldest son and successor could use his teknonym Abu al-Qasim; his brother, the third ruler, could use only his name Ali; and the eunuch Kafur, effective ruler of Egypt for over twenty years, could never inscribe his name on the regular coinage. At the same time, each one of these rulers was named in the Friday sermon and most had their teknonym inscribed on textiles. Presentation coins, the equivalent of modern commemorative pieces, could break all these rules, and a wide variety of titles appeared, as well as a series of coins with human representation. The second half of the book is a catalogue of over 1,200 specimens, enabling curators, collectors, and dealers to identify coins in their own collections and their relative rarity. Throughout the book numismatic pieces are illustrated, along with commentary on their inscriptions, layout, and metallic content.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.