Bibliothèque de l'Eglise apostolique arménienne - Paris - GUIRGUIS , Magdi     Retour à l'Index des auteurs en anglais    Accueil des catalogues en ligne

Bibliothèque de l'Église apostolique arménienne - Paris
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Magdi GUIRGUIS

L'auteur

Magdi GUIRGUIS --- Cliquer pour agrandir
Magdi Guirguis is an independent researcher, and a specialist in Egyptian documentary sources from the Ottoman period.

He received his PhD from the Faculty of Arts at Cairo University. Currently he is teaching at Kafr El-Sheikh University. Guirguis has published widely in Arabic in the field of Social History. Among his publications in English are: An Armenian Artist in Ottoman Egypt: Yuhanna al-Armani and His Coptic Icons, The American University in Cairo Press, 2008; (co-author with Nelly Van doorn-Harder), The Emergence of the Modern Coptic Papacy, in the series The Popes of Egypt, editors: Stephen Davis and Gawdat Gabra, The American University in Cairo Press, volume III, 2011. He was a EUME Fellow from 2006 to 2007. From October 2012 to spring 2014 he is a Fellow of the Alexander-von-Humboldt-Stiftung, as well as of EUME. In Berlin, Magdi Guirguis will work on his project “A Socio-Economic History of Coptic Monasteries in Mamluk and Ottoman Egypt (15th - 18th Centuries)”.

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Magdi GUIRGUIS --- Cliquer pour agrandir

Rangement général
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 An Armenian Artist in Ottoman Egypt - Yuhanna al-Armani and His Coptic Icons
Titre : An Armenian Artist in Ottoman Egypt - Yuhanna al-Armani and His Coptic Icons / auteur(s) : Magdi GUIRGUIS - Introduction by Nelly Hanna
Editeur : The American University in Cairo Press
Année : 2008
Imprimeur/Fabricant : Printed in Egypt
Description : 15 x 23 cm, 144 pages, jaquette illustrée en couleurs
Collection :
Notes :
Autres auteurs :
Sujets :
ISBN : 9789774161520
Lecture On-line : non disponible

Commentaire :

Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo’s Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo’s then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, Magdi Guirguis offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Illustrated with 28 full-color reproductions of al-Armani’s icons, An Armenian Artist in Ottoman Egypt is a rich and compelling window on Cairene social history that will interest students and scholars of art history, Coptic studies, or Ottoman history.

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