Ottoman Influence , hammam clogs , ceremonial shoes I assume these were worn during a festive ceremony.

is mostly part of the evolving fashion and the steady trickle of influence emanating from urban/elite/power/money centers towards the distant margins of society. Livorno jewellers had their entry at the late Beys court because they mastered the artistic patterns that were all the rage in the Ottoman political heartland as a consequence of its modernisation and westernization (political but eventually in cultural tastes). The overwhelmingly preferred taste was that of the Austro hungarian empire, German elite, both of them patronizing late Italian and French repertoires inherited from the renaissance aesthetic revolution… When the French landed in North Africa, the job was almost half done and they found a fertile ground on which their modern take on arts could thrive… But something curious happened: they quickly got rid of the old Ottoman influenced elite in favour of a newly trained one (French style, republican, almost leftist, laic, in total opposition of the oriental continuum) this had a radical impact on the cultural material production which entered into very acute decadence with remote, vague late pseudo-Ottoman patterns which you clearly identified with “rococco” style. This was a very important feature in Tunis and Bizerte, the main political and economical centers…. While very unique traditions dating back to late medieval islamic and Andalucian styles survived in the tiny “medinas” in the now marginal political space (Sousse, Mahdia, Hammamet, Kairaouane…) and although each of them had some unique and peculiar features they all show profound decadence in both technical and aesthetic realms.

Dispose de ✧❂✧—✧❂✧—

Matériel ◈ : silver wood
Région de ◈ : Afrique, Afrique du Nord, Maghreb, Maroc, vallée du Draa
La culture ◈ : africain, berbère,touareg
Nom vernaculaire ◈ : kabkab
◈ utiliser : la parure des femmes

◈ technique :
Poids ◈ : 50 g
Longueur ◈ :10 cm
Largeur ◈ : 5 cm

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