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56-551: Makama may refer to: Makama, alternative spelling of Maqama People [ edit ] Aliyu Makama (1905–1980), Nigerian politician Ibrahim Makama Misau , Nigerian politician Mamman Makama (born 1946), Nigerian sprinter Neo Makama (born 1981), Lesothan footballer Rimini Makama , Nigerian lawyer and business executive Thuli Brilliance Makama , Swazi environmental attorney See also [ edit ] Gidan Makama Museum Kano , Nigeria Topics referred to by

112-564: A framing device for translations of other works. Elements of art Lines are marks moving in a space between two points whereby a viewer can visualize the stroke movement, direction, and intention based on how the line is oriented. Lines describe an outline, capable of producing texture according to their length and curve . There are different types of lines artists may use, including, actual, implied, vertical , horizontal, diagonal and contour lines, which all have different functions. Lines are also situational elements, requiring

168-414: A moralistic or religious meaning in his use of the word maqāma to describe his work; however, the word has since come to exclusively refer to the literary genre, and conversations like those one might find within its works. Beyond its historical context, there has been some discussion of the word maqāma as it refers to the genre. K. Okazaki wrote that the word maqāma as "assembly" is meant to reflect

224-563: A type of small stepped stone grave marker. These Jewish gravestones were the ones illustrated in these manuscripts rather than the small Islamic headstones. However, the illustrations in Maqāmāt manuscripts also included influences from the Islamic world, notably from the city of Baghdad.  Specifically in the Istanbul Maqāmāt , several buildings do recall the architectural style and form of

280-503: A way of defying Western literary forms and expectations (such as the European novel) and legitimizing their own Arabic identities and that of their reader by appealing to a shared literary history. This process, he argues, would have been especially important in the nineteenth and twentieth centuries as modern Arabic states and national identities began to form as a result of or reaction to European colonialism. Some authors may choose to follow

336-442: Is a three-dimensional object with volume of height, width and depth. These objects include cubes, spheres and cylinders. Form is often used when referring to physical works of art, like sculptures, as form is connected most closely with those three-dimensional works. Color is an element consisting of hues, of which there are three properties: hue, chroma or intensity, and value. Color is present when light strikes an object and

392-461: Is also used to cater to the taste of different groups of people. For example, the text is read by the audience who are experts of Arabic language and literature, while the images can be helpful for those with less formal education. Captions were used extensively in Maqāmāt manuscripts, however it is important to note that they were either added last, or perhaps even later in the manuscripts' existence, rather than during its completion.  While

448-413: Is commonly credited for originating. First is his use of saj' throughout an anecdote, including the narrative itself. Saj is an ornate form of rhyming prose interspersed with full verse, the use of which had thus far been restricted to religious and political works. This claim has been contested, with some evidence that the use of saj throughout a narrative was not unique to al-Hamadhānī's maqāmāt at

504-438: Is different from Wikidata All article disambiguation pages All disambiguation pages Maqama The maqāma ( Arabic : مقامة [maˈqaːma] , literally "assembly"; plural maqāmāt , مقامات [maqaːˈmaːt] ) is an (originally) Arabic prosimetric literary genre of picaresque short stories originating in the tenth century C.E. The maqāmāt are anecdotes told by a fictitious narrator which typically follow

560-408: Is instead the trickster Abu Zayd who is using these children as a ploy for empathy from the congregation of people.  While you gain this knowledge from the text of the manuscript, the caption only reads "image of the old person and the youths," instead of implying the larger context of the scene. However, these captions could also have been used to clarify what the illustrator failed to render in

616-409: Is most relative to the greyscale, though, it is also exemplified within colored images. Mark making is the interaction between the artist and the materials they are using. It provides the viewer of the work with an image of what the artist had done to create the mark, reliving what the artist had done at the time. Materiality is the choice of materials used and how it impacts the work of art and how

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672-407: Is often employing this speech to the end of asking for money or other aid. After he receives his reward, the narrator sees through the protagonist's disguise and recognizes him as the recurring protagonist Abu Zayd, then tells Abu Zayd off for his continual abuse of others' good faith and charity. Abu Zayd justifies his actions in verse and the two part ways. Maqāma arose in the tenth century CE from

728-402: Is reflected back into the eye, a reaction to a hue arising in the optic nerve. The first of the properties is hue , which is the distinguishable color, like red, blue or yellow. The next property is value, meaning the lightness or darkness of the hue. The last is chroma or intensity, distinguishing between strong and weak colors. A visual representation of chromatic scale is observable through

784-407: Is the particular treatment of the sky which also appeared in some Byzantine manuscripts. The Vienna Maqāmāt and several earlier Maqāmāt manuscripts also included some imagery from medieval Jewish culture, such as the inclusion of their particular type of gravestone.  At this time, typical Islamic gravestones were minimalistic without many inscriptions, while several Jewish cemeteries included

840-400: Is used to describe the surface quality of the work, referencing the types of lines the artist created. The surface quality can either be tactile (real) or strictly visual (implied). Tactile surface quality is mainly seen through three-dimensional works, like sculptures, as the viewer can see and/or feel the different textures present, while visual surface quality describes how the eye perceives

896-614: The Maqamat of al-Hariri . They mainly cover a period of about 150 years. A first phase consists in manuscripts created between 1200 and 1256 in areas between Syria and Iraq. This phase is followed by a 50-year gap, corresponding to the Mongol invasions ( invasion of Persia and Mesopotamia , with the Siege of Baghdad in 1258, and the invasion of the Levant ). A second phase runs from around 1300 to 1337, during

952-632: The Egyptian Mamluk period, with production probably centered around Cairo . One of the earliest and most widely known illustrated editions is that by al-Waisiti (completed in the year 1236), now in the Bibliothèque nationale de France (in Paris). Maqāma as a literary genre has continued to exist and be contributed to since its inception. Mohamed Salah-Omri argues that for the modern Arabic writer, composing maqāmāt or works similar to them may serve as

1008-478: The Sēfer sha'ashū'īm ("The Book of Delights"), in which the author, the narrator, and the protagonist are all Ibn Zabara himself, and in which the episodes are arranged in linear, not cyclical fashion, in a way that anticipates the structure of Spanish picaresque novels such as the anonymous Lazarillo de Tormes (1554) and Guzmán de Alfarache (1599) by Mateo Alemán . No known illustrations of maqamat exist prior to

1064-411: The maqāmāt also typically blended serious or genuine narratives and tone ( jidd ) with humor and jest ( hazl) . Many scholars propose that the events and characters within the maqāmāt are primarily vehicles through which the author can showcase his own literary, poetic and rhetorical skills. There have been attempts to schematize loose plot outlines for the maqāmāt . J. Hämeen-Anttila puts forth

1120-543: The perspective (distance between and around) and proportion (size) between shapes and objects and how their relationship with the foreground or background is perceived. There are different types of spaces an artist can achieve for different effect. Positive space refers to the areas of the work with a subject, while negative space is the space without a subject. Open and closed space coincides with three-dimensional art, like sculptures, where open spaces are empty, and closed spaces contain physical sculptural elements. Texture

1176-531: The 13th century. The meaning and original use of the word "maqāma" to describe the literary genre are the subject of some scholarly debate. Al-Hamadhānī referred to his anecdotes as " maqāma " in a letter written as early as the year 922 C.E. Amina Shah writes in her introduction to The Assemblies of Al-Harīrī that the word maqāma may be taken to mean "a place where one stands upright", "the persons assembled at any place", or "the discourses delivered or conversations held in any such assembly". Qian wrote that, at

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1232-431: The 13th century. However, illustrations were added to maqamat to add grandeur and interest to the manuscripts, even though the text was usually performed orally in large groups, rather than read in solitude. Common images across various Maqāmāt texts include: grand banquet events involving music and drinking, large groups congregated (sometimes in mosques), and general scenes involving the trickery of Abu Zayd as well as

1288-464: The Arabic genre of prose known as adab (referring to "culture", "manners", "belles lettres"). There is some debate as to the precise origins of the genre. While it has generally been accepted that the genre was first established with the publication of Badī' al-Zaman al-Hamadhāni 's Maqāmāt in the tenth century, there are some scholars that credit Ahmad Ibn al-Farsi (d. 383/1004) as the originator of

1344-554: The animator manipulating the shapes to provide new life. There are different types of shapes an artist can use and fall under either geometrical shapes, defined by mathematics, or organic shapes, created by an artist. Simplistic, geometrical shapes include circles, triangles and squares, and provide a symbolic and synthetic feeling, whereas acute angled shapes with sharp points are perceived as dangerous shapes. Rectilinear shapes are viewed as dependable and more structurally sound, while curvilinear shapes are chaotic and adaptable. Form

1400-498: The architecture they were occupying as well as typically against a blank, white background. Most of these images either took up an entire or half page, but were not incorporated within the text as a whole. The use of the double-page spread began to become popular during this time and were used extensively in these manuscripts.  The color palettes were typical of this time and were the schemes often employed in Qurans. While some of

1456-620: The art of shadow play . The maqāma are typically understood to be short picaresques told by a fictitious narrator about a low-class trickster protagonist who uses disguises, refined language and sophisticated rhetoric to swindle onlookers out of their money. In the case of the Maqāmāt al-Harīrī, the same narrator al-Harīth tells of his numerous encounters with the roguish protagonist Abu Zayd, in various cities and under varying circumstances. The maqāmāt are known for their use of badi (ornate linguistic style) interspersed with saj (rhyming prose). Like much Arabic literature of its time,

1512-493: The assemblages of characters within the narrative witnessing the acts committed and subsequent trials faced by the roguish protagonist. Alain George argues that this reflection is two-fold. By his assertion, not only does "assembly" refer to the characters within the narrative, but it also refers to the small audiences of elite scholars who, according to George, would attend private readings of al-Harīrī's Maqāmāt . The maqāma genre

1568-446: The bulk of Iberian Jewry was finding itself living in a Spanish-speaking, Latin- or Hebrew-literate environment and Arabic was becoming less commonly studied and read. Some Hebrew maqāmāt made more significant departures, structurally and stylistically, from the classical Arabic maqāmāt of al-Hamadhānī and al-Harīrī . Joseph ibn Zabara (end of the 12th-beginning of 13th century), a resident of Barcelona and Catalan speaker, wrote

1624-500: The captions that were added to these illustrations did correspond to the text, they were often simplistic or only identified the figures in the image. This characteristic was irregular as compared to other manuscripts at the time such as the Mamluk Kalila wa Dimna .  To use an example by Bernard O'Kane, there is a Maqāmāt illustration that shows a large crowd with underfed children and an elderly woman.  However, this woman

1680-513: The city, notably shown through the Mustansiriya complex that appears to be replicated throughout the illustrations. The use of vegetal designs and specific rendering of authority figures also alludes back to the style of the Islamic world which can be seen through the Arabic translations of the Greek teachings of Dioscorides . The illustrated Maqāmāt manuscripts made during the 13th century connect

1736-453: The color wheel that uses the primary colors . Color is divided into various classes, primary color, secondary color, complimentary color, tertiary color, analogous color and neutral color. Primary colors are fundamental colors and can't be achieved by mixture of other colors (they are not mixable) and they are red, yellow and blue. Secondary colors are colors produced when two primary colors (of equal rate) are mixed together. Space refers to

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1792-483: The creation of Maqāmāt al-Harīrī , a century after al-Hamadhānī's work had been created. The popularity of al-Harīrī's maqāmāt is such that they were worthy of memorization, recitation, and scholarly criticism during his lifetime, and he has been the most well-known author in the genre for most of its history. The genre spread to the east, with maqāmāt appearing in Persian, Hebrew and Syriac. Maqāmāt also appeared to

1848-452: The escapades of a roguish protagonist as the two repeatedly encounter each other in their travels. The genre is known for its literary and rhetorical complexity, as well as its alternating use of rhymed verse with a form of Arabic rhymed prose known as saj . The two most well-known authors within the genre are Badī' al-Zaman al-Hamadhāni , one of its earliest exponents, and al-Harīrī of Basra , whose maqāmāt are commonly held responsible for

1904-482: The figures. These similarities of the Maqāmāt illustration and shadow play may have some effect on the viewer of these illustrations. In other words, these images can help viewers understand the reason for a dramatic difference between the text and paintings by suggesting that these images were not made as an aid of the text, but rather as stand alone paintings. Altogether, more than a hundred Maqamat manuscripts are know, but only 13 are illustrated, all belonging to

1960-453: The following pattern for a typical maqāma : Isnad → General Introduction → Link → Episode Proper → Recognition Scene → Envoi (→ Finale) Alain Qian expands on this structure somewhat. The isnad  (citation or "backing" used to verify the legitimacy of a statement, most commonly used in verifying hadith ) lends a sense of credibility to the narrator, even if he is known to be fictional. In

2016-631: The frustration of Al Harith.  Particularly in the Saint Petersburg Maqāmāt , these scenes were meant to be humorous to those reading the text, as they often were loosely associated with the poem the image was correlated with.  These comical images were also shown through the over-exaggerated gestures, such as rigid elbows and knees, of the human figures portrayed as shown in the Vienna Maqāmāt . The human figures expressed in these illustrations tended to be quite large in relation to

2072-414: The general introduction the narrator tells the audience where he was and/or what he was doing in the city in question, providing context for the anecdote to follow. The link transitions from general introduction into the episode proper, where the events of the anecdote are relayed. After a time in the anecdote itself, the narrator and the audience (those of whom that are familiar with the genre) both recognize

2128-659: The genre's rise in popularity from the eleventh century onward. Interest in al-Hariri's Maqāmāt spread throughout much of the Islamic Empire, with translations and original works appearing in Hebrew, Syriac and Persian. Many authors still contribute to and draw inspiration from the literary genre of Maqāma to this day. Professionally illustrated and calligraphed manuscripts were produced for private use. Of these manuscripts, only 11 surviving copies are known to exist; all of them are of al-Harīrī's Maqāmāt , and none are from before

2184-419: The idea of shadow play. This is shown through the emphasis of the outline, the dramatic behavior and mobile gestures of figures, the strong contrast between figures and the background, and the tendency of the figures being present in an unregulated setting. However, the Maqāmāt illustrations do not just emphasize the shadow and are instead full of bright colors, only using shadow to detail the environment around

2240-451: The images refer to the previous text in the manuscript, scholars cannot necessarily determine the relationship between the image and the text when they do not appear to relate to each other. Although the illustrations have a clear correlation with the text, the text does not need these images to serve its purpose.  Therefore, these images can instead serve as a distraction to the reader rather than an aid. The difference of text and images

2296-423: The images, rather than just an explanation of the scene produced.  Captions also created a sense of picture framing in instances of small spaces for the text, often resulting in bent captions that created an enclosure for the picture. The Maqāmāt illustrations have stylistic characteristics of other religions such as Christianity and Judaism. One of the main instances of Christian inspiration originates from

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2352-403: The literary tradition of the genre as closely as possible, while others make use of only some of the features of classical maqāma , to different ends such as parody, entertainment, or colloquialization of the genre. Omri lists the following modern examples of maqāma : In addition to these, many works of modern Arabic literature may only vaguely refer to maqāma or use its narrative structure as

2408-430: The manuscripts' completion to provide key context to the illustration or to provide information that could not be gleaned from the illustration alone. Art found in the illustrations of al-Harīrī's Maqāmāt appears to include borrowed visual motifs from medieval Christian and Judaic art as well as references to architecture found within the Islamic empire. In addition, the illustrations tend to share formal qualities with

2464-418: The maqāmāt and al-Hamadhānī's predecessor, and others who credit the even earlier author Ibn Duraid (d. 933). Al-Hamadhānī drew much of his inspiration from compilations of anecdotes such as those collected by al-Taniikhi, and may have found the prototype for his roguish and eloquent protagonist in the work of al-Jahiz (d. 869) There are two significant departures from works such as these that al-Hamadhānī

2520-428: The protagonist of the anecdote as the recurring roguish character. After this recognition scene the maqāma is ended with envoi (summation in verse), followed occasionally by a finale in which the narrator and protagonist part ways. A different schema for Maqāmāt al-Harīrī has been proposed by K. Okazaki, similar to Anttila's except for its mirror-like structure: "Arrival of the narrator in town → Encounter with

2576-458: The protagonist → Speech (poetry) → Reward → Recognition ← Reproach ← Justification (Poetry) ← Parting" In this proposed schema the arrows do not indicate chronology but rather the rise and fall of narrative suspense (in a manner not unlike Gustav Freytag's plot pyramid). The proposed structure illustrates that the narrator arrives in a city and comes across the protagonist, often drawn to them by their eloquent speech and pOor dress. The protagonist

2632-438: The reader or audience saw fit. The maqāmāt were also produced in professionally calligraphed and illustrated manuscripts. These were likely made for private consumption for individuals or small groups, as the ownership of representational images was commonly frowned upon in Islamic tradition. To art historians' knowledge, only eleven illustrated manuscripts of the maqāmāt survive today, with none of them having been made before

2688-462: The same term [REDACTED] This disambiguation page lists articles associated with the title Makama . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Makama&oldid=941907251 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description

2744-455: The texture based on visual cues. Value refers to the degree of perceivable lightness of tones within an image. The element of value is compatible with the term luminosity , and can be "measured in various units designating electromagnetic radiation ". The difference in values is often called contrast , and references the lightest (white) and darkest (black) tones of a work of art, with an infinite number of grey variants in between. While it

2800-400: The thirteenth century C.E. These illustrations tend to be colored linework on a white background; they often depict the narrator and protagonist's escapades together, and so most of these compositions ( unlike much of medieval Islamic Art ) primarily feature human figures with notably expressive faces and gestures. The illustrated manuscripts made extensive use of captions, likely added after

2856-445: The time of their writing. The second literary innovation al-Hamadhānī is credited for is the fact that unlike most works from his time or before it, al-Hamadhānī's maqāmāt are openly fictitious (rather than covertly fictitious or openly non-fictitious). Al-Hamadhānī's work was followed shortly thereafter by a collection of ten maqāmāt by literatus Ibn Nāqiyā (d.1092), though the genre would only gain most of its popularity after

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2912-454: The time that al-Hamadhānī wrote and compiled his Maqāmāt , the term maqāma and its common substitutes could be used to denote an assembly, a heroic boast, or a religious or moralizing sermon, among other meanings. The word maqāma or maqām (used interchangeably at this time) were often used in explaining eloquence and speech appropriate for particular situations. Given this historical context, Qian proposes that al-Hamadhānī may have intended

2968-416: The use of gold circles surrounding a figure's head to denote its holiness, typically used for saints in early medieval Christian manuscripts.  However, it was not meant to signify a sacred figure, but rather it is thought to create a distinction from the blank background because of its common use for ordinary figures throughout the illustrations.  Another Christian motif employed in these manuscripts

3024-419: The viewer to have knowledge of the physical world in order to understand their flexibility, rigidity, synthetic nature, or life. A shape is a two-dimensional design encased by lines to signify its height and width structure, and can have different values of color used within it to make it appear three-dimensional . In animation, shapes are used to give a character a distinct personality and features, with

3080-551: The west in al-Andalus (now Andalusia, Spain), courtesy of a small group of Andalusian poets who reported that after hearing al-Harīrī himself recite his own work in his Baghdad garden, they chose to recite the maqāma to those in al-Andalus who had not attended. Despite the genre's geographical reach, interest in the maqāma was confined to a relatively small population of wealthy literary scholars. These literati would attend small private recitations of al-Harīrī's maqāmāt , during which improvisations and embellishments were made as

3136-527: Was also cultivated in Hebrew in Spain, beginning with Yehūda al-Ḥarīzī 's translation of al-Harīrī's maqāmāt into Hebrew (c. 1218), which he titled maḥberōt 'ītī'ēl ("the maqāmāt of Ithiel"). Two years later, he composed his own maḥbārōt, titled Sēfer Taḥkemōnī ("The Book of the Tachmonite "). With this work, al-Ḥarīzī sought to raise the literary prestige of Hebrew to exceed that of Classical Arabic, just as

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