František Schmoranz Jr. and the Reception of Islamic Architecture in Central Europe

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461071%3A_____%2F22%3AN0000006" target="_blank" >RIV/60461071:_____/22:N0000006 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.umeni-art.cz/cz/issue-detail/4-3aePCE" target="_blank" >https://www.umeni-art.cz/cz/issue-detail/4-3aePCE</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

František Schmoranz Jr. and the Reception of Islamic Architecture in Central Europe

Popis výsledku v původním jazyce

The Islamic past and present only became a fundamental topological part of the West-ern image of Egypt in the latter half of the 19th century. This was in part due to the de-velopment of Oriental studies as a research discipline, the wide range of travel possibili-ties, and the social and cultural transformation of the Middle East as it sought its mod-ern identity. Islamic forms that had previously been overlooked began to assert their presence as means of architectural representation at world exhibitions, where they com-peted with replicas of ancient monuments. One of the actors in this process was the Aus-trian architect of Czech origin František (Franz) Schmoranz Jr. (1845–1892), who de-signed the Egyptian pavilion at the 1873 Vienna World’s Fair. Schmoranz became thor-oughly acquainted with Islamic architecture during repeated stays lasting several months in Cairo, and upon his return worked in Vienna as a respected expert and pro-moter. He organised several exhibitions of Islamic architecture for the Austrian Muse-um of Arts and Industry, and created a collection of glass vessels decorated with oriental arabesques for the Exposition Universelle in Paris in 1878. Though he did not publish any research outcomes, as an architect and designer he was one of the pioneers of arche-ologically based Orientalism. Unlike most Europeans, his appreciation of Islamic art was not restricted to two-dimensional decoration. Schmoranz significantly expanded the radius of the possible reception of the Orient by introducing the Western public to the residential qualities of the Arab home, thus satisfying the growing need for ‘interiority’ in the industrial society of the 19th century. This article deepens and clarifies our knowledge of the life, work and ambitions of this artist, primarily by focusing on the issue of cultural transfer in connection with the 1873 Vienna World’s Fair. It seeks to answer the question of how the building designed by Schmoranz met the expectations aroused in Central Europe by contact with the Orient. In addition, by means of an in-vestigation into the reception of Islamic material culture, the author wishes to contribute to the discussion of alternative forms of Orientalist thinking, which has up till now been predominantly the domain of linguistic and literary research.

Název v anglickém jazyce

František Schmoranz Jr. and the Reception of Islamic Architecture in Central Europe

Popis výsledku anglicky

The Islamic past and present only became a fundamental topological part of the West-ern image of Egypt in the latter half of the 19th century. This was in part due to the de-velopment of Oriental studies as a research discipline, the wide range of travel possibili-ties, and the social and cultural transformation of the Middle East as it sought its mod-ern identity. Islamic forms that had previously been overlooked began to assert their presence as means of architectural representation at world exhibitions, where they com-peted with replicas of ancient monuments. One of the actors in this process was the Aus-trian architect of Czech origin František (Franz) Schmoranz Jr. (1845–1892), who de-signed the Egyptian pavilion at the 1873 Vienna World’s Fair. Schmoranz became thor-oughly acquainted with Islamic architecture during repeated stays lasting several months in Cairo, and upon his return worked in Vienna as a respected expert and pro-moter. He organised several exhibitions of Islamic architecture for the Austrian Muse-um of Arts and Industry, and created a collection of glass vessels decorated with oriental arabesques for the Exposition Universelle in Paris in 1878. Though he did not publish any research outcomes, as an architect and designer he was one of the pioneers of arche-ologically based Orientalism. Unlike most Europeans, his appreciation of Islamic art was not restricted to two-dimensional decoration. Schmoranz significantly expanded the radius of the possible reception of the Orient by introducing the Western public to the residential qualities of the Arab home, thus satisfying the growing need for ‘interiority’ in the industrial society of the 19th century. This article deepens and clarifies our knowledge of the life, work and ambitions of this artist, primarily by focusing on the issue of cultural transfer in connection with the 1873 Vienna World’s Fair. It seeks to answer the question of how the building designed by Schmoranz met the expectations aroused in Central Europe by contact with the Orient. In addition, by means of an in-vestigation into the reception of Islamic material culture, the author wishes to contribute to the discussion of alternative forms of Orientalist thinking, which has up till now been predominantly the domain of linguistic and literary research.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/DG18P02OVV041" target="_blank" >DG18P02OVV041: Architektura a česká politika v 19. – 21. století</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Umění

ISSN

0049-5123

e-ISSN

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Svazek periodika

LXIX

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

22

Strana od-do

416-437

Kód UT WoS článku

000830148400024

EID výsledku v databázi Scopus

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