Raised in the historic city of Isfahan, Mohammad Gharipour received
his Ph.D. in Architectural Theory and History from Georgia Institute of
Technology in 2008 and Masters of Architecture from the University of Tehran in
2000. He teaches architecture at Morgan State University and is the Director and Founding Editor of the International Journal of Islamic Architecture. His
areas of research include Japanese traditional and contemporary architecture,
Persianate gardens and architecture, and restorative environments. He is the
recipient of Spiro Kostof fellowship award from the Society of Architectural
Historians (SAH) in 2008 and the author of several publications including Persian Gardens and Pavilions: Reflections in
Poetry, Arts and History(I.B. Tauris, 2013). in 2014, Dr. Gharipour was presented with the National Endowment for Humanities Faculty Award for his research on Synagogues of Isfahan, Iran.
Dimmig, Ashley. "Fabricating a New Image: Imperial Tents in the Late Ottoman Period." In International Journal of Islamic Architecture, Volume 3, Number 2 (pp. 341-372), edited by Mohammad Gharipour, Bristol: Intellect, 2014.
During the first centuries of Ottoman rule, sultans were constantly on the move and thus required transportable lodging in the form of the tent. As the nomadic dynasty grew into an empire, Ottoman tents quickly evolved into complex constructions that scholars often describe as ‘mobile palaces’. These extravagant tents continued to be used until the end of the Empire, and throughout the centuries, evolved stylistically in tandem with other imperial art forms such as permanent architecture and painting. In the eighteenth and nineteenth centuries, tentmakers had a fantastically rich and varied repertoire of visual elements at their disposal, some of which were adapted from international artistic milieus, and still others that developed domestically. In the sprawling landscape of late Ottoman Istanbul, tents functioned as transitional spaces between indoors and outdoors, like mobile pleasure pavilions, through which members of the court could enjoy the sensory pleasures of nature. Moreover, tents of all shapes and sizes functioned as interim palatial architecture and lavish silken stage settings for imperial ceremonies, which in the last centuries of Ottoman rule were employed to propagate the sultan’s power through his visibility.
Keywords: Late Ottoman Empire; architecture; imperial image; tents; threshold