I get off the bus near Al-Ahram Newspaper’s offices in the Ramses neighbourhood at around noon and make my way across the street and underneath Al-Galaa Bridge where street vendors sell anything from clothing to food items. As I navigate through the busy streets around people and cars, I think about the COVID-19 pandemic and I wonder at the countless Egyptians who need to pass through these crowds to make a living every day.
As I approach Cinema Radio, there’s a room to my left where I find a collection of furniture. I see a set of round double reflection mirrors, each divided down the middle –either horizontally or vertically– into two sections, each offering a different reflection. Below them is a cabinet set named Isfet, which, in ancient Egyptian culture, represents “chaos and darkness,” the opposite of another piece of hanging furniture named Maat, which represents “order and light.”
عندما كنا نفكّر في موضوع للدعوة لكتابة المقالات المتعلقة بممارسة الفن واستهلاكه، أردنا أن نترك الباب مفتوحًا إلى حدٍ ما ولكن أردنا أيضًا أن نشجّع الكتّاب على التفكير النقدي في موضوع أثّر على حياتنا ومعيشتنا بشكلٍ لا نستطيع إنكاره، ألا وهو المجال الرقمي، وهناك الكثير من الكتابات والأبحاث النقدية التي تضع موضوع التطوّر الرقمي وما قدّمه لنا (وما أخذه منا) نَصب أعينها، ولكن علينا أيضًا مناقشة التغييرات التي طرأت على الفن بشكلٍ خاصٍ بفعل التطوّر الرقمي وكيفية ممارستنا واستهلاكنا له في ظل هذا التطوّر.
خلال الشهور القادمة، سنقوم بنشر مجموعة من المقالات بالعربية وبالإنجليزية ضمن هذه السلسلة لمناقشة قضايا تتعلق بماهية الفن الرقمي، وكيف أثّرت التكنولوجيا الرقمية على انتشار الفن، والطرق التي يقوم هؤلاء الشغوفين بالفن باستهلاكه والاستمتاع به، خصوصًا في أوقاتنا هذه التي ينتشر فيها وباء كورونا، وأيضًا، ما قدمته مواقع التواصل الاجتماعي للمشهد الفني. سنبدأ هذه السلسلة بمقالٍ باللغة العربية من تأليف إسلام علّام حيث يشارك معنا العملية الفكرية التي رافقت رحلته نحو تطوير أسلوبه الخاص في الفن الرقمي.
خلال السنة الماضية، قمنا بتقديم محتوى أكبر عن الفن بشكل خاص، وأثناء البحث عن الفنانين لكتابة المقالات وإجراء المقابلات معهم، أردنا أن نظهر أفكار مختلفة يتم إهمالها أحيانًا أثناء الممارسة والتفكير في الفن مثل الخط العربي، ولكنها تؤثّر على جوانب مختلفة من حياتنا، منها الجوانب الثقافية، وأردنا أيضًا إلقاء الضوء على مناطق مختلفة يظن الكثيرون أنها لا ترتبط ببعض الممارسات الفنية ولكنها مرتبطة بها بشكل تاريخي ووثيق. أيضًا، بدأنا مؤخرًا بالعمل على المراجعات النقدية للمعارض الفنية –وهذه مبادرة منفصلة عن سلسلة الفن والمجال الرقمي هذه– وقمنا بنشر أول هذه المراجعات وسنقوم بنشر المزيد خلال الأشهر القادمة، وبعض الأهداف من كتابة هذه المراجعات تكمن في اهتمامنا بالفن الإسلامي والتصميم بشكل واسع، وأيضًا أهمية التفكّر في الأساليب التي يقوم الفنانون باستخدامها أثناء ابتكارهم للأعمال الفنية والرسائل التي يتم إرسالها للمتلقي في ظل سياقات اجتماعية وسياسية واقتصادية معينة، ونرى أيضًا أن الممارسات الفنية مرتبطة ارتباط وثيق بالممارسات الأرشيفية والمكتبية. ونحن لا نتحدث فقط عن الفن فقد بدأنا أيضًا باستخدامه –في شكل القصة المصورة– كوسيلة للتحدث عن مواضيع اجتماعية مهمة، مثل المصدر المفتوح وكيفية تعريفه، للوصول لنوع آخر من المتعلم، وهو المتعلم البصري.
نتمنى أن تقوم هذه السلسلة بتشجيع الفنانين والمهتمين بالفن أن يكونوا على دراية بالأدوار المهمة التي يلعبها المجال الرقمي أثناء ممارستهم واستهلاكهم للفن والتي يمكن أن تكون سلبية في بعض الأحيان. أثناء نشرنا للمقالات، ننتظر منكم أن تشاركونا آرائكم بشأن المواضيع المطروحة. سنقوم بوضع روابط المقالات أدناه عند نشر كل مقال. إذا كان لديك رغبة في كتابة مقال عن موضوع خاص بممارسة الفن أو استهلاكه أو إذا كان هناك معرض يقام في منطقتك تريد أن تتحدث عنه أو تكتب مقال نقدي عنه، يمكنك التواصل معنا: hazineblog {@} gmail.com.
As we were brainstorming a theme for the call for pitches for essays on artistic practice and consumption, we sought to keep it relatively open but also to encourage critical thought on a phenomenon that has indisputably influenced how we go about our lives: the digital sphere. While there has been much critical discourse on the things that digital advancement has given (and taken away from) us, it is important to discuss how it has changed the ways in which we have practiced and consumed art.
Over the coming months, this series will present articles, in both Arabic and English, that discuss what constitutes digital art, how digital technology has influenced the dissemination of art, the ways in which art enthusiasts consume art, particularly in pandemic times, and what social media has brought to the art scene. We’ll begin our series with an essay in Arabic by Islam Allam where he takes us through the thought process that accompanied his journey towards developing his own digital artistic style.
The last year has seen Hazine slowly expand its offerings on art. While searching for artists to profile and interview, we have kept an open eye for modes of thought that are often overlooked while creating and thinking about artwork like Arabic calligraphy, as well as work that is done in settings that are not necessarily associated with certain artistic practices. We have also sought to emphasize that certain forms of art can and may belong to more peoples than we may assume. We recently began running exhibition reviews –distinct from the Art in the Digital Sphere series– and you’ll see more of those in the next few months. Part of the motivation behind this expansion is our commitment to Islamic art –broadly defined– and design. We’re also seeking to better understand and critique the methods which artists use in their work and the messages that viewers receive in light of particular social, political and economic contexts. Another element of it is our acknowledgement that artistic practice and curation overlap with archival and library practices. We have also begun, not only discussing artistic practice, but also using it as a tool –in the form of comics– to appeal to the visual learner to discuss significant issues, such as open access and how we define it.
We hope that this series will encourage practitioners and consumers of art to be critically aware of the important, and sometimes adverse, roles that the digital plays in their practice and consumption. As we release the essays, we’d like to know your thoughts on the ideas discussed. We’ll be linking the essays below as they come out. Get in touch and let us know if you want to contribute something on artistic practice, consumption or discourse or if there’s an exhibition in your area that you’d like to review: hazineblog {@} gmail.com.
Figure 1: Still from “At those terrifying frontiers,” with Palestinian hills in the background (Photo credit: N.A. Mansour)
Maybe I just have to resign myself to the fact that some Palestinian art is not made for me, a Palestinian.
When Palestinian culture is given some representation at major institutions and major publications, my instinct is to support it, even though I know diversity, equity and inclusion policies are instrumentalized as corporate tools. I try to be optimistic.
I tried to be optimistic when I heard that the Art Institute of Chicago was running Palestinian artists Basel Abbas and Ruanne Abou-Rahme’s exhibition If only this mountain between us could be ground to dust, from July 31, 2021 until January 3, 2022. It’s one of the very few shows the Art Institute of Chicago has organized featuring contemporary artists from the Arabic-speaking world; it might even be the first, certainly the only in the last decade. The Art Institute’s permanent collection has a poor record when it comes to modern Arab artists, with only a handful representing the region, including Ghada Amer, Lalla Assia Essaydi, and Jacob El Hanani. Compare that to the dozens of Warhols perpetually on display.
“Open access” is any resource you don’t have to pay for, that is available online and that has less obstacles to copying and using material – in short, anything that is available for all.1 As a movement in information sciences, it has been praised, but in our particular contexts, in mine as someone who lives in the Arabic-speaking world, I wonder about its limitations. What does “available for all” truly mean?
What open access is can be defined by cultural factors, like language, history and even the significance of computer literacy. I presented on this with N.A. Mansour at the Digital Orientalisms Twitter Conference in 2020 in both Arabic and English. But we thought a visual medium might help us provoke thought on this issue even more.
Alternative text is also available for each comic panel.
Why have many artists chosen the digital sphere to represent their artwork? How has it impacted the appearance of their work and the meanings conveyed? Hazine is seeking 3-4 pieces on the digital world and art from the Mashriq, the Maghreb, East Africa, West Africa, Sub-Saharan Africa, South Asia, Southeast Asia, Turkey, or Iran. If you’re an artist, tell us what drives you to employ digital tools in your artwork and how these tools influence your work? Have you collaborated with other artists online? If you’re a consumer of art, how has viewing art online changed your relationship with it? Does it change the nature of consumption? Send pitches to hazineblog[at]gmail.com by Friday, January 22, 2021. To ensure a more organized process, please only send pitches and ideas by e-mail rather than through comments to this post.
Pitches should be no longer than 300 words and should be accompanied by a few sentences telling us who you are. Pitches (and pieces) are accepted in English and Arabic; we accept essays and are open to different forms. We are open to different forms of style as we expand this category of the site but do have a look at the essays we’ve run previously, like this one on typography and this one on archivy, because they demonstrate what we’re really looking for: a strong point of view. Completed essays –if accepted– will be 2000 words or less. Deadlines for completed pieces are flexible. Each piece is paid 100 USD upon publication.
لماذا اختار الكثير من الفنانين المجال الرقمي لممارسة الفن؟ كيف أثّر ذلك على شكل أعمالهم الفنية والمعاني التي يريدون إيصالها؟ ترغب خزينة في نشر من 3-4 مقالات عن العالم الرقمي وعلاقته بالفن في المشرق والمغرب وشرق أفريقيا وغرب أفريقيا وجنوب صحراء أفريقيا وآسيا الجنوبية وجنوب شرق آسيا وتركيا وإيران. إذا كنت فنانًا، أخبرنا ما الذي يدفعك نحو استخدام الأدوات الرقمية في أعمالك الفنية وكيف تؤثر هذه الأدوات على إنتاجك الفني. هل قمت بالتعاون مع فنانين آخرين على الإنترنت؟ إذا كنت من متابعي الفنون، كيف أثّرت مشاهدتك للأعمال الفنية على الإنترنت على علاقتك بالفن؟ هل غيّر الإنترنت طبيعة استهلاك الأعمال الفنية؟ قم بإرسال نبذة أو فكرة عن المقال الذي تريد أن تكتبه يوم الجمعة، 22 يناير، 2021 كحد أقصى إلى البريد الإلكتروني hazineblog[at]gmail.com.
لضمان عملية منظمة، نرجو إرسال النبذ والأفكار عبر البريد الإلكتروني فقط وليس من خلال تعليقات على هذا المنشور.
يجب ألا تكون النبذة أكثر من 300 كلمة وترافقها بعض السطور عن الكاتب. تقبل خزينة النبذ والمقالات باللغة العربية والإنجليزية، وترحّب بأساليب الكتابة المختلفة. نقوم الآن بتوسيع الجزء الخاص بالكتابة حول الفن على الموقع ويمكنك إلقاء نظرة على هذا المقال عن تصميم الخطوط الطباعية وهذا المقال عن الأرشفة لأنهم يُظهروا السمة التي نبحث عنها في الكتابة: وجهة نظر قوية. إذا تم قبول مقالك، يجب أن يكون 2000 كلمة أو أقل، وهناك مرونة في موعد تسليمه. سيتم دفع الكاتب 100 دولار أمريكي عند النشر.
Neue Helvetica Arabic (sample text), designed by Nadine Chahine
If you were becoming an Arabic type designer, one of the things you would need to consider, oddly enough, is Latin type design: much Arabic type design involves creating Arabic counterparts to existing Latin typefaces, a process known as typographic matchmaking. The Arabic script was incorporated into printing technology –outside of Arabophone contexts for the purposes of those who studied Islam for both academic and polemic purposes– roughly a century after the Latin script: Gutenberg, the inventor of Latin movable type, didn’t design printing with the Arabic script in mind. Arabic is composed of 28 letters, which have four letterforms (isolated, initial, medial and final forms), thus requiring a large number of type pieces to be created and the process was time-consuming. Today, while the computer allows us to communicate in Arabic without having to worry about the multiple letterforms, out of the same Gutenbergian legacy comes typographic matchmaking.
In typographic matchmaking, a type designer studies the letterforms of the Latin typeface they are interested in and incorporates their features into the design of Arabic letterforms while maintaining their physical appearance as Arabic letters. An example is Neue Helvetica Arabic, based on the Latin script typeface Neue Helvetica. Typographic matchmaking represents a cultural and practical discourse that Arabic type designers engage in as they work with Arabic type: consequently, Arabic speakers have few typefaces that they can rely on for day-to-day uses.
TYPE Lab (Credit to Sarah Shebl and the TYPE Lab design team).
While historians have made efforts to document the Arabic script from both historical and visual perspectives, few have made the information and resources on the Arabic script accessible to the general public. Bahia Shehab is an artist, activist and academic who has recently founded TYPE Lab at the American University in Cairo (AUC). TYPE Lab is dedicated to promoting the documentation and development of the Arabic script in both Arabic and English, as well as to encouraging conversation around its history and development. Here, she describes her team’s efforts to create a project that reproduces and documents over 70,000 historical and contemporary Arabic letters in the Visual Encyclopedia of Arabic Letters, a TYPE Lab project, and make them open access so that artists, designers, historians and academics can learn more about the letters’ aesthetic features as well as their chronological information. While the TYPE Lab website is underway, the Facebook and Instagram pages are regularly used to share Arabic letters as well as events that host various designers, historians, publishers, academics and other speakers who have experience with the Arabic script. As this project unfolds over the coming years, we look forward to how Shehab and her team will have developed this project and taken it further.
(Questions by Marwa Gadallah, with contributions by N.A. Mansour)
Let’s face it: every publication is better with images. Whether it’s a presentation, a blog post, a book, or just a paper, images engage an audience instantly. The internet is flush with images from Islamic art, architecture, and society, but reliable sources (with credit information) are more difficult to track down. So we’ve done it for you! Here are some of the best sites for finding credited visual resources for Islamic, Middle Eastern and North African Studies. Feel free to suggest more in the comments and we’ll update the list! Note this list is specifically focused on images and visual resources, but not necessarily manuscripts (for a guide to online manuscript collections, look at Evyn Kropf’s list here).
The Bosniak Institute (Bošnjački institut – Fondacija Adila Zulfikarpašića) is a foundation established to promote the development and preservation of the cultural wealth, history and identity of Bosnia and Herzegovina. The Institute offers a large, multi-themed library, a manuscript and rare books collection, an archive, and various special collections such as those of postcards and audio records. Such wide-ranging efforts to preserve the cultural and historical heritage of Bosnia are quite significant, particularly in light of attempts to destroy Sarajevo’s libraries and archives during the war between 1991 and 1995. This institution will be of great interest to all those researching Bosnia and Herzegovina, the former Yugoslav republics and the Balkans at large, as well as the various peoples, empires, religions and cultures that interacted with this region.
The entrance and courtyard of the Bosniak Institute. The tomb of the founder-Adil Zulfikarpasic–is conveniently located next to the front door.
History
Bošnjački institut – Fondacija Adila Zulfikarpašića is a vakuf of the late Adil-beg Zulfikarpašić, a prominent and well-esteemed Bosnian politician, philanthropist, intellectual and patron of the arts. He and his wife Tatjana Zulfikarpašić devoted decades to meticulously collecting and cataloging literary, artistic and archival materials on the cultural heritage and history of Bosnia and Herzegovina, former Yugoslavia, and the surrounding region. Originally established as the Bosniaken Institut of Zürich in 1988, the institute’s purpose was to promote and preserve the cultural, religious and linguistic wealth of the many peoples living in Bosnia and Herzegovina, the Bosniaks in particular. The Institute opened a branch in Sarajevo in 1991 and moved there completely in 1998, officially opening in 2001. Its many collections continue to grow and expand through private donations as well as new acquisitions on the part of the Institute and vakuf.
Collection
The Institute offers researchers monographs, reference works, periodicals (newspapers and magazines), a rare books collection, a map collection, a photographs-and-postcards collection, an archive, audio-visual records and an Oriental manuscripts collection.
The library holds over 150,000 works dating from the sixteenth century to the present day. These holdings are divided into the departments of Bosnika, Kroatika, Serbika, Jugoslavika, Emigrantika, Islamika, Balkanika, Turcica, and Judaica (Bosnian, Croatian, Serbian, Yugoslavian, Emigrant, Islamic, Balkan, Turkish and Judaic) with special sections devoted to the Bogumils, agrarian reform, the War of 1991-1995, the Sandžak region and reference materials. The Bosnika department is the library’s largest and contains works on Bosnia and Herzegovina and its peoples and history in a wide array of languages and themes. The Emigrantika department features works published by the region’s diaspora throughout the world following World War II. The department of most interest to the readers of HAZINE, however, will probably be that of Islamika which contains works in Arabic, Turkish and Persian on various themes such as history and natural sciences as well as encyclopedias and commentaries on the Qur’an.
The Institute’s collection of oriental manuscripts is digitized and holds over 1,125 works (743 codices) in Arabic, Turkish, Persian and Bosnian dating from the thirteenth century to the start of the twentieth century. The manuscripts pertain to a wide array of subjects from law and politics to music and rhetoric. The earliest dated work is from 742 AH/1341-2 CE. Many of these manuscripts are especially valuable because they originated in Bosnia and were donations from the private collections of notable families. The manuscript catalog can be accessed here. In addition to this collection, one can also access facsimiles of the Oriental manuscript collection of the Goethe Institute in Frankfurt with materials from Morocco, Iraq, Egypt and other medieval Islamic cultural centers.
The institute’s archive holds original documents and copies from various periods relevant to this region’s history, in particular a collection of materials from the recent war in Bosnia and Herzegovina from 1991-1995 (periodicals, documents, photographs, video and audio material). The cartographic collection includes maps of various themes, from the historical and topographic to the touristic and climatic, and from various centuries and points of origin in Eurasia. The collection includes about 2,000 maps, mainly of Bosnia and Herzegovina but also former Yugoslavia, Europe and the world. It may be of interest to students of art and art history that the institute also has an extensive art collection numbering 1,500 pieces and containing works by 200 Bosniak, former Yugoslavian and Austro-Hungarian artists. The collection is displayed throughout the institute (galleries in the main library building, the institute club and the former bath house (hamam) and includes paintings, graphic art, sculptures, and tapestries.
Research Experience
The library’s holdings are cataloged electronically and may be accessed via the institute’s website or at computers on-site. The catalog navigation site is in English. An additional catalog of new additions to the library as well as a catalog of Goethe University’s holdings may be found in the reading rooms. Although the library catalog may be accessed electronically, requests to view the library’s holdings are filled out by hand and submitted on-site. Order slips and submission boxes may be found at the two computers located in the lobby of the Institute. Users cannot order nor hold more than five books at one time. The five-a-day limit also applies to manuscripts even though only their digital copies may be viewed. Orders placed by 15:00 on any business day are usually ready by the start of the next day. For researchers interested in the manuscript collection, a PDF catalog of the holdings may be found on the Institute’s website or in the published edition edited by Fehim Nametak and Salih Trako. A PDF catalog of the institute’s cartographic collection is also available on its website. Because the ordering and holding limit is five items, it is recommended that you consult the catalog ahead of time, determine what is available and prioritize what you need to order. This will also expedite the process of ordering your items in person at the institute.
The institute’s staff is incredibly warm and friendly; it is generally a very welcoming place to work. Along with BSC (Bosnian-Serbian-Croatian), some of the staff also speaks English and tours for large groups may be arranged in various other languages. The librarians can be approached with questions about the library and the various collections as well as the process of ordering books, using the reading room, and paying for copies. Because the institute’s archive is not open to the public, if you plan to utilize it, ask the librarians to notify the correct staff who can answer your questions regarding its holdings. The reading rooms are cozy and warm with large windows and a wonderful view of the Gazi Husrev-beg bath house (hamam) and Sacred Heart Cathedral. The reading room used most often holds eight spacious desks, one of which is equipped with a computer that can be used to access the library catalog and view ordered manuscripts. If there is another researcher viewing manuscripts, you will to arrange separate times for each of you to use the computer. The entire institute is equipped with wireless internet which is available to users. Usernames and passwords can be obtained in the reading rooms. Some of the library holdings may be found shelved in this room and can be used freely. While the reading room is rarely crowded, especially in the mornings, unoccupied electrical outlets may occasionally be difficult to find later in the day.
Access
The Bosniak Institute is open to all academic researchers who work on Bosnia and Herzegovina, Bosniaks and the surrounding regions and peoples. After providing a valid identification document (I.D. card if a Bosnian national, otherwise passport) and filling out a basic information and research project information form, you will receive a membership card. Researchers present this card and their valid identification document every time upon entering the institute. The membership card is also used to obtain any book or reproduction orders. Upon returning the books ordered or paying for your reproductions, your valid identification and user card will be returned. The overall process is very painless and simple. If you take a break during your work and plan to exit the building, you must return your holdings to the front desk for safekeeping. They should not be left unattended in the reading room.
The entry is wheelchair accessible and the building has easy-access elevators. The institute is usually closed for state and religious holidays, but apart from this, there are no other long-term closures.
Institute working hours:
Monday – Friday 8:00-16:30
Library working hours:
Monday – Friday 9:00-16:00
Wednesday 9:00-19:00
Reproductions
The institute will photocopy materials (books, magazines, newspapers) produced in the year 1945 or later for you, but the maximum amount of pages is ten. Personal digital photography of any material can only be done with permission. Materials produced before 1945 cannot be photocopied and will be scanned by the institute and provided to you in electronic form on a USB drive.
Scans: BAM 2.00 per page scan (regular) – BAM 4.00 per page scan (rush delivery)
CD: BAM 1.20
DVD: BAM 1.50
(Manuscripts are charged by the page, not by the folio, as is the case in most manuscript libraries. This means that prices are actually a pricey 4 BAM or around 2 Euros a folio. You can find other versions of some, though not all, of the institute’s manuscripts holdings at the Gazi Husrev Beg Library which charges less for digital copies.)
Transportation and Food
The institute is located in the Old Town municipality of Sarajevo in the very heart of the city and is surrounded by many famous, well-preserved Ottoman architectural remnants such as the Gazi Husrev-beg medresa and mosque. The building which houses the institute is built alongside the Gazi Husrev-beg bath house (hamam) which was restored by and remains in the care of the institute. Because of its central location and placement on one of Sarajevo’s main streets, it is easy to reach via city or commercial bus (31A), tram (Line 3) or on foot from anywhere within the city limits. However, cabs are affordable for most transportation budgets and the plethora of private companies (residents will recommend private companies due to their accountability and fair practices: Crveni Taxi, Kale Taxi, Samir & Emir Taxi, Holland Co., amongst others) make its location very expedient and relatively affordable to reach.
The institute does not have a cafeteria or a café, but the entrance floor does have an automated coffee machine which produces anything from cappuccinos to tea. Numerous cafes (some with coffee-to-go, which is unusual in Bosnia), bakeries, pizzerias and restaurants surround the Institute, so researchers have their pick and will have no issues tailoring their dietary needs to their budgets. One exclusively vegetarian and vegan restaurant is within short walking distance of the institute, but most bakeries, restaurants and sandwich shops will offer meatless options. The institute is also a thirty meter walk from a large local market where researchers can find fresh fruit and vegetables, as well as other shopping.
The lobby of the Bosniak Institute
Miscellaneous
The institute takes a holistic approach to achieving its mission of preserving, promoting and developing the study of Bosnia and Herzegovina, former Yugoslavia and the Balkans. It is simultaneously a place of research, offering a library and an archive, and a museum in its own right. It also often coordinates and hosts academic conferences, cultural events and variously-themed seminars. Information on current and upcoming events and exhibitions can be found at the front desk. The institute also publishes and co-publishes various books and periodicals, and a list of these publications may be found on its website. Lastly, it provides scholarships to university and graduate students in various fields from Bosnian universities.
The institute has its own galleries which house over 1,500 works of regional origin from the twentieth and twenty-first centuries. As the posters throughout the institute boast, new gallery exhibitions are organized regularly and are open to all. As an integral part of the institute, the Gazi Husrev-beg bath house (hamam) is also used as an art gallery and for various exhibitions on the cultural heritage of Bosnia and Herzegovina and is open for visitation by researchers as well as the general public. Alongside the on-going process of digitalization, the Institute has partnered with the Elektrotehnicki Fakultet (University of Sarajevo’s College of Electrical Engineering) to begin a multimedia project of digital preservation and reconstruction of various cultural artifacts which can be accessed through the Institute’s website (see Resources and Links).
Published catalog: Nametak, Fehim and Salih Trako. Katalog Arapskih, Perzijskih, Turskih i Bosanskih Rukopisa iz Zbirke Bošnjačkog Instituta. Sarajevo and Zürich: Bošnjački institute, 2003.
Sanja Kadrić is a doctoral candidate at Ohio State University working on the history of the Ottoman Empire in the Balkans. Specifically, she studies the Ottoman institution of the devşirme, a levy of young men trained and educated as elite military and bureaucratic servants.
Citation Information
Sanja Kadrić, “Bosniak Institute – Foundation Adil Zulfikarpasic” HAZINE, 25 Sep 2014, https://hazine.info/bosniak-institute/
