Books by Carine Juvin
Journal of Material Cultures in the Muslim World, vol 4, 2023
Gaston Wiet (1887-1971), an outstanding historian of medieval Islam, was also a prominent figure ... more Gaston Wiet (1887-1971), an outstanding historian of medieval Islam, was also a prominent figure of the French scientific presence in Egypt. A perfect Arabist, he was interested in many aspects of Egyptian history and culture. His work at the head of the Arab Museum in Cairo (now the Museum of Islamic Art) between 1926 and 1951 was decisive for the enrichment, publication and outreach of its collections, and led him to become one of the best connoisseurs of Islamic art of the first half of the 20th century. Moreover, his membership of the Comité de conservation des monuments de l’art arabe further enhanced his interest in the architecture from the Islamic period. This book focuses on Gaston Wiet's decisive contribution to the study of Islamic art by addressing, beyond his career and his personality, his work at the Arab Museum and the Comité, as well as the wide extent of his research and curiosity, from Persian art and textiles to the productions of modern Egypt, while also underlining his particular passion for epigraphy. This volume brings together the contributions of French and Egyptian specialists and intends to recall, on the occasion of the fiftieth anniversary of his passing, the essential contribution of this eminent scholar and friend of Egypt.
Ph. D Thesis (Ecole Pratique des Hautes Etudes, Paris), 2017
Calligraphy in Egypt and Syria in the Mamluk period, generally speaking, and especially the forma... more Calligraphy in Egypt and Syria in the Mamluk period, generally speaking, and especially the formal aspect of the inscriptions on monuments and portable objects, quite numerous for this period, remain under-studied. Focusing on the late Mamluk period (1468-1517), which offers a large and diverse corpus of inscriptions on monuments and objects (mainly objects and military equipment made of metal), of calligraphic quality, this thesis aims at replacing this corpus in the context of calligraphic practice and theory in the Circassian Mamluk period. Thus, it is intended as both a socio-historical and philological study, and a morphological and stylistic study. It relies on the different sources available: historical and biographical sources, chancery manuals, calligraphic treatises, and waqf documents, allowing to reconsider our vision of the Mamluk calligraphic tradition. A first chapter presents the calligraphers’ milieu and the frame of the calligraphic practice and transmission around the 15th century. The issues of theoretical views and terminology of scripts is addressed in a second chapter. Then the following two chapters are dedicated to a stylistic general study of inscriptions, and to a case study: the complex of sultan Qāniṣawh al-Ghawrī in Cairo. Finally, a catalogue of the corpus of inscriptions used for this study is established, which provides a referential basis for the study of art production during this period.
Book Chapters by Carine Juvin
Louvre Museum, 2023
In response to a request of the Iraqi authorities, the
Louvre Museum has actively engaged, for ne... more In response to a request of the Iraqi authorities, the
Louvre Museum has actively engaged, for nearly
three years now, in bringing the Mosul Cultural
Museum and its assets back to life, with the invaluable
support of the International Alliance for
the Protection of Heritage in Conflict Areas, and
in close collaboration with the World Monuments
Fund (WMF) and the Smithsonian Institution.
This publication, directed by Zaid Ghazi Saadallah al-Obeidi (Mosul Museum) and Ariane Thomas (Louvre Museum), goes along with an exhibition on the history and reconstruction of the Mosul Museum, shown in Mosul during the Spring 2023.
Papers by Carine Juvin
Comptes-rendus de l’Académie des Inscriptions et Belles-Lettres (CRAI) 2022, 4 (novembre-décembre), p. 1467-1490., 2024
Journal of Material Cultures in the Muslim World, Volume 4, 2023
Technè 54, 2022
This article presents a group of Egyptian stained glass panels from the period of the Ottoman Emp... more This article presents a group of Egyptian stained glass panels from the period of the Ottoman Empire, held in the Louvre. It considers in turn the provenance and the movements of the panels, the technical study prior to their conservation-restoration, and the results of the analysis of their material components.
in: L’Orient inattendu. Du Rhin à l’Indus, ed. N. Ben Azzouna et C. Lorentz, Strasbourg: Bibliothèque nationale universitaire, 2021, no. 1.17 to 1.19 p. 29-30; no. 5.6 p. 128 ; no. 6.16 p. 167.
Mathilde Boudier, Audrey Caire, Eva Collet et Noëmie Lucas (ed.), Autour de la Syrie médiévale. Études offertes à Anne-Marie Eddé, Louvain, Peeters (Orient & Méditerranée 39), p. 115-135., 2022
Rediscovering Objects from Islamic Lands in Enlightenment Europe , I. Dolezalek and M. Guidetti (ed.), London, Routledge., 2022
As an iconic figure of the Islamic Art Department in the Louvre Museum and undisputed masterpiece... more As an iconic figure of the Islamic Art Department in the Louvre Museum and undisputed masterpiece of the Mamluk metalware production, the so-called « Baptistère de Saint-Louis » has generated considerable commentary during the last decades, through studies which have focused on stylistic and iconographic analysis aiming at defining a more precise dating and attribution to a specific patron. More recently, some first inquiries have been conducted about its historiography and how this prestigious object found his way to the French royal treasury. This paper presents an overview of the different mentions of the “Baptistère” in French historical writings through the 17th and 18th centuries, from brief statements to a more comprehensive publication in Aubin-Louis Millin’s Antiquités nationales published in 1791, which coined the present appellation of the basin as “Baptistère de Saint-Louis”. It examines how this object was described and considered, and how this « rediscovery » took place in a specific national historical moment as well as in the context of French orientalism and concern for heritage and archaeology in the late 18th century. In so doing, it emphasizes the special status of the “Baptistère”, between oriental exotica and national emblem.
in: History and Society during the Mamluk Period (1250–1517). Studies of the Annemarie Schimmel Institute for Advanced Study III. Bethany J. Walker / Abdelkader Al Ghouz (eds.), Bonn: V&R unipress, Bonn University Press, p. 285-317., 2021
This is a revised and peer-reviewed version of the paper initially published online as an ASK Wor... more This is a revised and peer-reviewed version of the paper initially published online as an ASK Working Paper.
This paper tackles the issue of the luxury consumption goods made for the civilian elite during the Mamluk period, with a focus on the fifteenth and early sixteenth centuries, through the specific case of the preserved high quality metal objects, replacing them in the general context of the civilian architectural patronage in the main cities of the sultanate. The metal objects made for more or less outstanding individuals may have embodied their wealth, social status, as well as their interactions with the military elite. Most of the recipients remain anonymous or unknown. The case study of a candlestick in the Louvre Museum whose owner can be better identified provides an interesting glimpse into these social interactions. This new attribution offers a precise dating and new perspectives regarding a specific group of late Mamluk metalworks. It is here studied in connection to other closely related inscribed metal objects showing the same stylistic features, and whose poetic inscriptions reflect the cultural taste of the civilian elites.
INTERNATIONAL JOURNAL OF TURKOLOGY No. 10, 2020
Journal of Islamic Manuscripts 10/1, 2019
This article presents a Mamluk Qur’ān ǧuzʾ copied in Cairo in the late 14th century, newly acquir... more This article presents a Mamluk Qur’ān ǧuzʾ copied in Cairo in the late 14th century, newly acquired by the Musée du Louvre. It is an interesting example of manuscript production in this period, and well contextualized thanks to its informative colophon. It can be linked with other volumes of the same Qur’ān now in Cairo and Brussels. This manuscript was acquired together with some documents (two letters, a note and a water color drawing) bringing information about its circulation in the 19th century and connecting it with the amir ‘Abd al-Qādir al-Jazāʾirī and the French orientalist Léon Roches.
This manuscript is of great interest for many reasons. Its unusual layout and illuminated decoration, but also its detailed colophon, make it a valuable document with respect to the development of the art of the book and of calligraphy in the Circassian Mamluk period, still under-published. Moreover, the seal print it contains, highlighted and identified by this article, relates it to a possible survey conducted among the Cairene endowed libraries in the mid-16th century. Through the journey of this specific manuscript we can also begin to address the history of the dispersal and collecting of Egyptian manuscripts during the 19th century.
Grande Galerie. Le Journal du Louvre, « La recherche au musée du Louvre », 2017
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Books by Carine Juvin
https://brill.com/view/journals/mcmw/4/1/mcmw.4.issue-1.xml
Book Chapters by Carine Juvin
Louvre Museum has actively engaged, for nearly
three years now, in bringing the Mosul Cultural
Museum and its assets back to life, with the invaluable
support of the International Alliance for
the Protection of Heritage in Conflict Areas, and
in close collaboration with the World Monuments
Fund (WMF) and the Smithsonian Institution.
This publication, directed by Zaid Ghazi Saadallah al-Obeidi (Mosul Museum) and Ariane Thomas (Louvre Museum), goes along with an exhibition on the history and reconstruction of the Mosul Museum, shown in Mosul during the Spring 2023.
Papers by Carine Juvin
https://brill.com/view/journals/mcmw/4/1/article-p78_4.xml
This paper tackles the issue of the luxury consumption goods made for the civilian elite during the Mamluk period, with a focus on the fifteenth and early sixteenth centuries, through the specific case of the preserved high quality metal objects, replacing them in the general context of the civilian architectural patronage in the main cities of the sultanate. The metal objects made for more or less outstanding individuals may have embodied their wealth, social status, as well as their interactions with the military elite. Most of the recipients remain anonymous or unknown. The case study of a candlestick in the Louvre Museum whose owner can be better identified provides an interesting glimpse into these social interactions. This new attribution offers a precise dating and new perspectives regarding a specific group of late Mamluk metalworks. It is here studied in connection to other closely related inscribed metal objects showing the same stylistic features, and whose poetic inscriptions reflect the cultural taste of the civilian elites.
This manuscript is of great interest for many reasons. Its unusual layout and illuminated decoration, but also its detailed colophon, make it a valuable document with respect to the development of the art of the book and of calligraphy in the Circassian Mamluk period, still under-published. Moreover, the seal print it contains, highlighted and identified by this article, relates it to a possible survey conducted among the Cairene endowed libraries in the mid-16th century. Through the journey of this specific manuscript we can also begin to address the history of the dispersal and collecting of Egyptian manuscripts during the 19th century.
https://brill.com/view/journals/mcmw/4/1/mcmw.4.issue-1.xml
Louvre Museum has actively engaged, for nearly
three years now, in bringing the Mosul Cultural
Museum and its assets back to life, with the invaluable
support of the International Alliance for
the Protection of Heritage in Conflict Areas, and
in close collaboration with the World Monuments
Fund (WMF) and the Smithsonian Institution.
This publication, directed by Zaid Ghazi Saadallah al-Obeidi (Mosul Museum) and Ariane Thomas (Louvre Museum), goes along with an exhibition on the history and reconstruction of the Mosul Museum, shown in Mosul during the Spring 2023.
https://brill.com/view/journals/mcmw/4/1/article-p78_4.xml
This paper tackles the issue of the luxury consumption goods made for the civilian elite during the Mamluk period, with a focus on the fifteenth and early sixteenth centuries, through the specific case of the preserved high quality metal objects, replacing them in the general context of the civilian architectural patronage in the main cities of the sultanate. The metal objects made for more or less outstanding individuals may have embodied their wealth, social status, as well as their interactions with the military elite. Most of the recipients remain anonymous or unknown. The case study of a candlestick in the Louvre Museum whose owner can be better identified provides an interesting glimpse into these social interactions. This new attribution offers a precise dating and new perspectives regarding a specific group of late Mamluk metalworks. It is here studied in connection to other closely related inscribed metal objects showing the same stylistic features, and whose poetic inscriptions reflect the cultural taste of the civilian elites.
This manuscript is of great interest for many reasons. Its unusual layout and illuminated decoration, but also its detailed colophon, make it a valuable document with respect to the development of the art of the book and of calligraphy in the Circassian Mamluk period, still under-published. Moreover, the seal print it contains, highlighted and identified by this article, relates it to a possible survey conducted among the Cairene endowed libraries in the mid-16th century. Through the journey of this specific manuscript we can also begin to address the history of the dispersal and collecting of Egyptian manuscripts during the 19th century.