The paper traces the establishment and development of dīwān al-awqāf in Egypt in the 19th century. It analyzes two manuscript documents stored in the Egyptian state archive in Cairo. The first one is a regulation of 1837, entitled Lā’ihat tartīb camalīyat al-awqāf bi-l-thughūr wa al-banādir. The second one is Lā’ihat dīwān al-awqāf, which dates back to 1851. The aim of this paper is to present a full edition of both documents and review their content in the context of dīwān’s institutional development. It is demonstrated that the regulation of 1837 is, contrary to earlier assessments, predicative of the dīwān only to a limited extent. Its significance is reassessed within the broad framework of Muhammad cAlī’s waqf policy, which is dealt with at the beginning of the paper. Then the document of 1851 is introduced. It represents, most probably, the very first preserved constitutive document of dīwān alawqāf in 19th century Egypt. The content of the document makes it possible to define the structure of the dīwān and its executive powers. The paper concludes with a survey of the development of dīwān al-awqāf up to 1895, when it evolved into a sophisticated bureau of administration.
The purpose of this aer is to define the nature, history, and scope of the Surealist movement in Egypt in the 1930s and the 1940s and its influence on contemporary Egyptian art. It is also desigend to provide a clear, accessible, and broad background on a diverse group of mainstream and lesser-known innovativde Arabic artists while showing that Surrealism is not a phenomenon unique to Europe. In addition to dealing with the general state of the Egyptian art scene in the 1930s, the aarticle covers the genesis of the Egyptian Surrealis group Art and Liberty and its exhibitions, political activities and two main members, Georges Hénein and Ramsīs Yūnān.