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LIGHTING
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The
fanous, or brass and glass lantern, became a common form
of domestic and exterior lighting throughout western Islam. Examples
can still be found in Turkey, Egypt, Syria, North Africa and Andalusian
Spain. The work of these lanterns is much simpler than that of the
more ceremonial brass thurwan and tananir fabricated
for mosques and palaces. The light is also much stronger as it served
a more utilitarian purpose, rather than to create an atmosphere
of holiness or majesty.
The
artist has designed over a hundred and fifty variations of the traditional
glass fanous, including suspended lanterns and wall lamps. The initial
prototypes were found in 17th- and 18th-century Arab houses, in
museums and in private collections.
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 This
fanous, a four-sided oxidized brass lamp with white and colored
glass suspended by iron brackets, is in the health club at the Sofitel
Sharm El Sheikh. LGLS-92
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| AZZA |
 The
incised and etched side panels of this four-sided fanous
were inspired by an illumination from a Moroccan Qur'anic
manuscript in which a niche or mihrab is framed by floral
and geometric patterns. The rectangular body is surmounted
by an openwork 'roof' formed of eight triangular panels, ending
in a knop. LMAM-58 |
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| NAHLA |
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| This
pyramidal fanous of oxidized brass with highlights is an original
design with an etched and perforated pattern replicating the
arch patterns of the Sultan Qalawoon Tables. The dome is perforated
and engraved with floral patterns. The openwork calligraphy
contained in the lower band is of the Muslim Declaration of
Faith: "There is no god but Allah; Muhammad is the Messenger
of Allah." LMAM-48 |
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This
octagonal oxidized brass fanous with four towers is an original
design. The rectangular towers are surmounted by truncated
cones with cast star and crescent finials. The openwork is
more elaborate, in the Moroccan style, with floral patterns
forming diamond openings. LGLS-37 |
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| The
octagonal oxidized brass fanous is similar in shape to 18th-century
Egyptian and Syrian glass lanterns but the central rectangular
side panels have been filled with geometric openwork designs
more commonly found in Moroccan fawanis. The Egyptian and
Syrian style inclines to greater simplicity and openness.
LGLS-39 |
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