Advertisement
| islamic art: Islamic Art and Architecture 650-1250 Richard Ettinghausen, Oleg Grabar, Professor Emeritus of Islamic Art and Architecture Oleg Grabar, Marilyn Jenkins, 2003-07-11 This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world. |
| islamic art: Islamic Arts Bloom, 2000 |
| islamic art: Islamic Art Jonathan M. Bloom, Sheila S. Blair, 2019-01-01 A group of renowned scholars, collectors, artists, and curators grapple with the challenging notion of defining Islamic art. |
| islamic art: What is “Islamic” Art? Wendy M. K. Shaw, 2019-10-10 An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music. |
| islamic art: Islamic Art Luca Mozzati, 2010 This Stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world. With its large format, exquisite photographs and extensive research, this is a thorough introduction toan exceptional artistic tradition. -- |
| islamic art: Islamic Art Robert Irwin, 1997 Among the greatest and least understood areas of art is that of the Islamic nations and peoples. Robert Irwin, an expert in the arts of Islam and a compelling writer, takes the reader deep into the cultures in which some of the world's most splendid art was created. Working thematically, he surveys the refined and exquisite arts of porcelain, enamel, manuscript illumination, metalwork, calligraphy, textiles - and more - within a larger picture of a powerful faith, a profound tradition and a magnificent history. Writing in a lively and engaging style, Irwin places this complex art in context. He pays close attention to patronage, to how works of art are used and displayed, to the traditions within the Islamic cultures of fine craftsmanship, and to the shifting relationship of art to religious practice and belief. |
| islamic art: Islamic Art and Spirituality Seyyed Hossein Nasr, 1987-02-12 With remarkable breadth of vision, Seyyed Hossein Nasr reveals for both Western and Muslim readers how each art form in the islamic tradition is based upon a science of nature concerned, not with the outer appearance of things, but with their inner reality. Ranging across calligraphy, painting, architecture, literature, music, and the plastic arts, Nasr penetrates to the inner dimension of Islam and shows the role art plays in the life of individual Muslims and the community as a whole—the role of inspiring the remembrance and contemplation of God. Once the author establishes art as an aid and support to the spiritual life, he traces the creative act to its ultimate source: inner knowledge and barakah, or grace, which make the crystallization of inner realities in form and space and time possible. Through this knowledge and grace, the author asserts, unity manifests upon the plane of multiplicity, making archetypal realities perceivable by the senses. Through this knowledge and grace, art functions as a ladder for the journey of the soul from the visible to the invisible. How Islamic art leads man to the inner chamber of divine revelation forms the substance of much of this important work. An especially close look is given to the Sufi tradition within Islam, for its mystical teachers have often clearly demonstrated in their works the spiritual significance of beauty and served as the source of inspiration for art. By rediscovering the root of art in the Islamic tradition, Seyyed Hossein Nasr opens doors to new dimensions of unity which have seemingly been obscured in recent Western art. In so doing, he extends the significance of this book beyond the Islamic belief system to touch the hearts and creative impulses of readers from all traditions. |
| islamic art: Islamic Art and Visual Culture D. Fairchild Ruggles, 2011-04-25 Islamic Art and Visual Culture is a collection of primary sources in translation accompanied by clear and concise introductory essays that provide unique insights into the aesthetic and cultural history of one of the world's major religions. Collects essential translations from sources as diverse as the Qur'an, court chronicles, technical treatises on calligraphy and painting, imperial memoirs, and foreign travel accounts Includes clear and concise introductory essays Situates each text and explains the circumstances in which it was written--the date, place, author, and political conditions Provides a vivid window into Islamic visual culture and society An indispensable tool for teachers and students of art and visual culture |
| islamic art: Islamic Art in the 19th Century Doris Behrens-Abouseif, Stephen Vernoit, 2006 This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art. The essays have a relevance and importance for our understanding of the societies and attitudes of that time, and have a direct bearing on the more general debate concerning cultural identity and the integration of modern ideas in the Muslim world. The book is richly illustrated with very many illustrations in black-and-white and in full colour. |
| islamic art: Deconstructing the Myths of Islamic Art Onur Öztürk, Xenia Gazi, Sam Bowker, 2022-03-20 Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes. Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists’ initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives. The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies. |
| islamic art: Colour, Light and Wonder in Islamic Art Idries Trevathan, 2020-02-17 The experience of colour in Islamic visual culture has historically been overlooked. In this new approach, Idries Trevathan examines the language of colour in Islamic art and architecture in dialogue with its aesthetic contexts, offering insights into the pre-modern Muslim experience of interpreting colour. The seventeenth-century Shah Mosque in Isfahan, Iran, represents one of the finest examples of colour-use on a grand scale. Here, Trevathan examines the philosophical and mystical traditions that formed the mosque's backdrop. He shows how careful combinations of colour and design proportions in Islamic patterns expresses knowledge beyond that experienced in the corporeal world, offering another language with which to know and experience God. Colour thus becomes a spiritual language, calling for a re-consideration of how we read Islamic aesthetics. |
| islamic art: Enfoldment and Infinity Laura U. Marks, 2010-08-13 Tracing the connections—both visual and philosophical—between new media art and classical Islamic art. In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the “Islamic” quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, “nonorganic life” in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art. |
| islamic art: Art of the Islamic World Metropolitan Museum of Art (New York, N.Y.), 2012 Family guide, Dazzling details in folded front cover. |
| islamic art: Modern Islamic Art Wijdan Ali, 1997 The first monograph to successfully address the dual questions of the development of painting in the Islamic lands in the 19th and 20th centuries and the significance of an indigenous 20th-century artistic tradition . . . presents a lucid and objective discussion of provocative questions related to the evolution of contemporary painting from Islamic lands, including the role of colonial institutions, indigenous patronage, art education, and the formation of a national artistic identity.--Layla S. Diba, associate curator for Islamic art, Brooklyn Museum In this beautifully illustrated book, Wijdan Ali offers a historical survey of the development of modern painting in the Islamic world from the 19th century to the present. She provides background on dominant artistic traditions before 1900 as well as an evaluation of the loss of traditional aesthetics under the impress of Western culture. Ali also explores the persistence and reemergence of calligraphic art as an expression of national artistic identity, and hers is the first book to consider in depth the modern calligraphic school. Ali's account begins with a descriptive survey of the development of contemporary art in the heartland of Islam, from Morocco to Iran. Her discussion incorporates the historical, political, social, and economic factors that brought about artistic and aesthetic changes in the region. Building on this survey, she analyzes the factors behind the evolution of various styles of calligraphic art, their substyles and adherents, and their respective places within the contemporary calligraphic school. In an appendix, she provides biographical data on the most influential modern Islamic artists. More than 150 color and black-and-white photographs allow the reader to see and appreciate the beauty and importance of these works. While a few recent collection catalogs have hinted at the growing interest in the art of the Islamic world, Ali's study is by far the most comprehensive yet undertaken of Islamic art in the contemporary period. It will substantially expand the study and concept of modern art beyond the narrow province of American and western European schools and establish a broad foundation for future investigation of modern artistic movements in the Middle East. Wijdan Ali is a painter, art historian, and lecturer at the Institute of Diplomacy, Amman, Jordan. Her most recent publications are What Is Islamic Art? (1996) and Modern Art in Jordan (1996). |
| islamic art: Introduction to Islamic Art Shadieh Mirmobiny, 2009-12-26 This introduction to Islamic art and architecture reveals the essential history, culture, and religious philosophy from pre-Islamic foundations through modernity. The easily approachable text contextualizes all major art forms in the contemporary events, beliefs, and cultural developments. While providing an understanding of religious doctrine, its interpretations, and its influence on the arts, the book encourages critical thinking by introducing analytic issues, for example, defining the problematic term Islamic. Scholar and artist Shadieh Mirmobiny engages readers with the scientific achievements, cultural exchanges, and religious doctrines that shaped Islamic art. The result of five years of research and teaching, Introduction to Islamic Art presents Islam s rich influences in art worked through all materials, art, and architecture, both sacred and secular. Islam s message brought many cultures together, helped enable patrons to sponsor art, and influenced art around the world. Highlights of the text include a study of mysticism, its pre-Islamic history in the Middle East, and understanding it as an alternative perspective in Islam. The important role of women in Islamic art is also explored. Readers see how Islam's wide-ranging interactions with both Western and Far-Eastern civilizations shaped all arts and crafts, from the literary arts to glazed tiles, calligraphy, and painting. The West's reaction to Islamic art is examined with the theory of Orientalism, and the theory's application is demonstrated in the study of nineteenth-century European painting. Later, modernized influences from North Africa, Russia, and America are revealed in twentieth-century Islamic sacred architecture. And similarly, throughout modern history, European and American art has been enriched by Islamic influence. The survey concludes with the present status of Islamic art, including art in Diaspora. Appropriate for art history, history, and various humanities, Introduction to IslamicArt stimulates interest, furthers scholarly research in Islamic art, and encourages critical thinking. The well organized and highly readable chapters provide a complete survey to a broad audience. |
| islamic art: A Companion to Islamic Art and Architecture Finbarr Barry Flood, Gulru Necipoglu, 2017-06-16 The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas) |
| islamic art: The Book in the Islamic World George N. Atiyeh, 1995-07-01 The Book in the Islamic World brings together serious studies on the book as an intellectual entity and as a vehicle of cultural development. Written by a group of distinguished scholars, it examines and reflects upon this unique tool of communication not as a physical artifact but as a manifestation of the aspirations, values, and wisdom of Arabs and Muslims in general. The Islamic system of book production differed from that of the West. This volume shows the peculiarities of book making and the intellectual principles that governed a book's inner structure, mysteries, and impact on culture. Investigated and explained are the issues involved in printing; the compilation of the Koran, the most important book in Islam; attitudes toward books; the oral versus the written tradition; metaphors of the book in literature; biographical dictionaries, an important genre of Islamic books; the grammatical tradition; women's contribution to calligraphy; scientific manuscripts; the transition from scribal to print culture; publishing in the modern Arab World; and the new electronic media, a non-book vehicle of communication, and its impact on education. |
| islamic art: Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art Metropolitan Museum of Art (New York, N.Y.), Maryam Ekhtiar, 2011 This book explores the great diversity and range of Islamic culture through one of the finest collections in the world. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterworks created in the rich tradition of the Islamic faith and culture. The Metropolitan's renowned holdings range chronologically from the origins of Islam in the 7th century through the 19th century, and geographically from as far west as Spain to as far east as Southeast Asia. |
| islamic art: Cartier and Islamic Art Heather Ecker, Marton Radkai, 2022-04-12 A sumptuous exploration of the ways in which the Islamic arts have inspired the famous jewelry house Cartier, this book accompanies a major exhibition at the Musée des Arts Decoratifs, Paris, and the Dallas Museum of Art. Louis Cartier (1875–1942), the grandson of Cartier founder Louis-François, was an impassioned collector and patron of the arts. He was particularly entranced by Islamic arts, especially Persian book arts: their geometric shapes, color combinations, and motifs are apparent in Cartier jewelry to this day. Louis’s younger brother Jacques—an expert in precious stones—traveled to India and the Persian Gulf in 1911 and 1912 to experience the culture and bring home treasures of the Middle East: natural pearls. This was the pivotal moment when the dialogue between these two worlds opened up, eventually blossoming into a beautiful relationship that has lasted for decades. Published to accompany a major exhibition at the Musée des Arts Decoratifs in Paris and the Dallas Museum of Art, Cartier and Islamic Arts delves into the Cartier archives to trace the story of Louis Cartier’s love of Islamic art and the ways in which he incorporated the Islamic world’s stylized motifs into Cartier’s jewelry. Dazzling photographs are accompanied by in-depth texts from a raft of distinguished scholars of both Islam and the decorative arts. |
| islamic art: Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set Jonathan Bloom, Sheila Blair, 2009-05-14 The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art. |
| islamic art: The Meaning of Islamic Art Khursheed Kamal Aziz, 2004 This Extensive Volume Has 9 Chapters. Religions, Art And Culture, The Book, Calligraphy, Painting, Architecture, Gardens. A Matter Of State, The Arts Of Good Living-Symbolism, Music. In Appendices, Bibliogrpahy, Index. Many Colour Illustrations. |
| islamic art: Early Islamic Art, 650–1100 Oleg Grabar, 2023-04-28 Early Islamic Art, 650-1100 is the first in a set of four volumes of studies by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century. Each volume takes a particular section of the topic, the three subsequent volumes being entitled: Islamic Visual Culture, 1100-1800; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The present volume concentrates primarily on documents provided by archaeology understood in its widest sense, and including the study of texts with reference to monuments or to the contexts of these monuments. The articles included represent major contributions to the understanding of the formative centuries of Islamic art, focusing on the Umayyad (661-750) and Fatimid (969-1171) dynasties in Greater Syria and in Egypt, and on the Mediterranean or Iranian antecedents of early Islamic art. Historical, cultural, and religious themes, including the role of court ceremonies, the growth of cities, and the importance of the Qur'an, are introduced to help explain how a new art was formed in the central lands of the Near East and how its language can be retrieved from visual or written sources. |
| islamic art: Reflections Ahdaf Soueif, 2012-05-22 The riches of Islamic art celebrated by over 25 world-leading writers and thinkers from West and East. 25 leading writers and thinkers celebrate the riches of Islamic Art in a visually stylish volume produced with the Museum of Islamic Art in Qatar and edited by Ahdaf Soueif, best-selling Booker-Prize shortlisted Egyptian-British novelist. |
| islamic art: Contemporary Art from the Islamic World Wijdan Ali, Suhail Bisharat, 1989 |
| islamic art: Islamic Art and Architecture Henri Stierlin, Anne Stierlin, 2002 More than five hundred full-color illustrations and reproductions capture a panoramic array of Islamic art and architecture in a study that examines the sources, forms, themes, and symbolism of Islamic artistry, as exemplified in mosques, palaces, landscape architecture, caligraphy, miniature painting, tapestries and textiles, and other artforms. |
| islamic art: Beauty and Islam Valerie Gonzalez, 2001-08-24 'Beauty and Islam' explores aspects of aesthetics in classical Islamic thought in the light of contemporary theories, offering new perspectives on Islamic art and architecture with examples ranging from the Qur'an and the Alhambra to the works of present day artists and philosophers. Tracing the roots of Islamic aesthetics back to the works of the great philosophers of the Middle Ages such as Avicenna and Averroes, Valerie Gonzalez finds that aesthetic theory in Islam must be seen within the much wider context of parallel thinking on theology, ethics, physics and metaphysics. |
| islamic art: The Transformation of Islamic Art During the Sunni Revival Yasser Tabbaa, 2002 Momentous developments occurred in the field of Islamic art during the 11th and 12th centuries - developments that were to affect its aesthetic direction for centuries to come, but which sprang from deep within a political and religious clash at the heart of the Muslim world. Iran, Iraq and Syria were to see the flourishing of such devises as proportional calligraphy, vegetal and geometric arabesque and muqarnas (stalactite) vaulting, but these innovations were propagated in a highly confrontational atmosphere that pitched the traditional Sunnism of the Abbasid Caliphate against the heterodox Fatimids of Egypt. |
| islamic art: Islamic Art in Detail Sheila R. Canby, 2012 |
| islamic art: Islamic Art and Beyond Oleg Grabar, 2024-08-01 Islamic Art and Beyond is the third in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art, 650-1100; Islamic Visual Culture, 1100-1800; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The articles in the present volume illustrate how the author's study of Islamic art led him in two directions for a further understanding of the arts. One is how to define Islamic art and what impulses provided it with its own peculiar forms and dynamics of growth. Was it a faith or a combination of social, historical, and cultural events? And how has 'Islamic art' impacted on the contemporary arts of the Islamic world? The other issue is that of the meanings to be given to forms like domes, so characteristic of Islamic art, or to terms like symbol, signs, or aesthetic values in the arts, especially when one considers the contemporary world. The Islamic examples allow for the development of new intellectual positions for the history and criticism of the arts everywhere. |
| islamic art: The Formation of Islamic Art Oleg Grabar, 1987 |
| islamic art: The Human Figure in Islamic Art Kjeld von Folsach, Joachim Meyer, 2018-06-12 This richly illustrated book focuses on an unusually and rarely elucidated subject in the world of Islamic art: human depictions. Through seventy-five important works of Islamic art from the David Collection in Copenhagen, Denmark, The Human Figure in Islamic Art focuses on an unusually and rarely elucidated subject in the world of Islamic art: human depictions. Depictions of man were considered objectionable from an orthodox Muslim point of view since only God can create life, and man should not try to emulate God's work. There was concern that depictions or those who were depicted could be worshipped, something that went against the dogma that only God, Allah, should be the object of worship. The book describes how, despite this reluctance, portraying human figures has nonetheless always played an important role in Islamic art. The human figure is found on many kinds of utility ware, but the motif also has a long and rich tradition especially in miniature painting. The paintings in the book largely feature princes, but also holy men and quite ordinary people in the form of illustrations for works of fiction, depictions of real-life events, and true portraits. This richly illustrated book covers the use of the human figure in many of the forms of Islamic art and describes some of the historical conditions and theological discussions behind it. Light is also shed on the mutual influence of Islamic and European art. |
| islamic art: Islamic Art , |
| islamic art: Art, Trade and Culture in the Islamic World and Beyond Alison Ohta, Michael Rogers, Rosalind Wade Haddon, 2023-08-05 The essays in this book trace a rich continuum of artistic exchange that occurred between successive Islamic dynasties from the twelfth through nineteenth centuries—as well as the influence of Islamic art during that time on cultures as far away as China, Armenia, India, and Europe. Taking advantage of recent technologies that allow new ways of peering into the pasts of art objects, the authors break new ground in their exploration of the art and architecture of the Islamic world. The essays range across a variety of topics. These include a look at tile production during the reign of the Qaytbay, the book bindings associated with Qansuh al-Ghuri, and the relationship between Mamluk metalwork and that found in Rasulid Yemen and Italy. Several essays examine inscriptions found on buildings of the Fatimid, Mamluk, and Ottoman periods, and others look at the debt of European lacquer works to Persian craftsmen, the Armenian patrons of eighteenth-century Chinese exports, and the influences of Islam on art and architecture found all across India. The result is a sweeping but deeply researched look at one of the richest networks of artistic traditions the world has ever known. |
| islamic art: À l’orientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries Francine Giese, Mercedes Volait, Ariane Varela Braga, 2019-11-04 The present volume offers a collection of essays that examines the mechanisms and strategies of collecting, displaying and appropriating Islamic art in the nineteenth and early twentieth centuries. Many studies in this book concentrate on lesser known collections of Islamic art, situated in Central and Eastern Europe that until now have received little attention from scholars. Special attention is given to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of Islamic art is now preserved in the Bernisches Historisches Museum, Switzerland. Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait. Les contributions de l’ouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et l’appropriation des arts de l’Islam au XIXe siècle et début du XXe siècle. Elles mettent l’accent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusqu’à présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourd’hui au Bernisches Historisches Museum (Suisse) et qui ont été de même peu étudiés. Les textes émanent de jeunes chercheurs comme de chercheurs confirmés, basés en Europe occidentale et orientale, et au-delà. |
| islamic art: Islamic Art and Culture Nasser D. Khalili, 2005 The artistic achievements of the Islamic world chronicled over fourteen centuries. |
| islamic art: Islamic Arts and Crafts Marcus Milwright, 2017-02-03 Islamic art is justly famed for its technological sophistication, varied approaches to ornament, and innovative employment of the written word. But what do we know about the skilled artisans who spent their lives designing and creating the paintings, objects and buildings that are so admired today? This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts. You will learn about: the legal and ethical dimensions of the arts and crafts, the organisation of labour in urban and rural contexts, the everyday lives of artisans, the gendered dimensions of making things, and the impact of industrialisation upon traditional methods of manufacture. Each chapter begins with an introduction providing a wider context for the primary sources. There are also suggestions for further reading. |
| islamic art: Early Islamic Art and Architecture Jonathan M. Bloom, 2017-05-15 This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading. |
| islamic art: Perspectives on Early Islamic Art in Jerusalem Lawrence Nees, 2015-09-17 Through its material remains, Perspectives on Early Islamic Art in Jerusalem analyzes several overlooked aspects of the earliest decades of Islamic presence in Jerusalem, during the seventh century CE. Focusing on the Haram al-Sharif, also known as the Temple Mount, Lawrence Nees provides the first sustained study of the Dome of the Chain, a remarkable eleven-sided building standing beside the slightly later Dome of the Rock, and the first study of the meaning of the columns and column capitals with figures of eagles in the Dome of the Rock. He also provides a new interpretation of the earliest mosque in Jerusalem, the Haram as a whole, with the sacred Rock at its center. |
| islamic art: STEALING FROM THE SARACENS DIANA. DARKE, 2024 |
Islam - Wikipedia
Muslims believe that Islam is the complete and universal version of a primordial faith that was revealed many times through earlier prophets and messengers, including Adam, Noah, …
Islam | Religion, Beliefs, Practices, & Facts | Britannica
6 days ago · Islam, major world religion promulgated by the Prophet Muhammad in Arabia in the 7th century ce. The Arabic term islām, literally “surrender,” illuminates the fundamental …
Islam - Five Pillars, Nation of Islam & Definition | HISTORY
Jan 5, 2018 · Mosques are places where Muslims worship. Some important Islamic holy places include the Kaaba shrine in Mecca, the Al-Aqsa mosque in Jerusalem, and the Prophet …
Islam - World History Encyclopedia
Nov 25, 2019 · Islam is an Abrahamic-monotheistic religion based upon the teachings of Prophet Muhammad ibn Abdullah (l. 570-632 CE, after whose name Muslims traditionally add “peace …
Islam web - English Fatwa | Articles | Quran Recitation | Prayer …
Islamweb - the largest Islamic and cultural content on the Internet for the users contain fatwa, quran, articles , fiqh , lectures , prayer times , about islam etc
What do Muslims believe and do? Understanding the 5 pillars of …
Aug 30, 2021 · There are five pillars – or basic tenets – of Islamic faith. Each of these pillars is an important part of being Muslim.
Religious Beliefs & History of Islam Religion - Islamic Info Center
Jan 4, 2025 · Islam is one of the world’s major monotheistic religions, with over 1.9 billion followers worldwide. Founded in the 7th century CE by the Prophet Muhammad in the Arabian …
The Islamic Bulletin - A One Stop For All Your Islamic Needs!
We offer many free resources such as Introduction to Islam, free eBooks, Muslim Funeral guide, Hajj guide, Last Will and Testament, Quran studies, Newsletter, videos on How to become …
What is Islam? - IslamiCity
Commonly, Islam refers to the monotheistic religion revealed to Muhammad ibn (son of) Abdullah between 610 and 632 of the Common Era. The name Islam was instituted by the Qur’an, the …
Islam: History, Beliefs, And Modern Significance - WorldAtlas
Jun 3, 2019 · Muslims believe that their sacred text, the Quran, is the absolute word of God as it was revealed to the prophet Muhammad. In the Arabic language Muslim means, “one who …
Islam - Wikipedia
Muslims believe that Islam is the complete and universal version of a primordial faith that was revealed many times through earlier prophets and messengers, including Adam, Noah, …
Islam | Religion, Beliefs, Practices, & Facts | Britannica
6 days ago · Islam, major world religion promulgated by the Prophet Muhammad in Arabia in the 7th century ce. The Arabic term islām, literally “surrender,” illuminates the fundamental …
Islam - Five Pillars, Nation of Islam & Definition | HISTORY
Jan 5, 2018 · Mosques are places where Muslims worship. Some important Islamic holy places include the Kaaba shrine in Mecca, the Al-Aqsa mosque in Jerusalem, and the Prophet …
Islam - World History Encyclopedia
Nov 25, 2019 · Islam is an Abrahamic-monotheistic religion based upon the teachings of Prophet Muhammad ibn Abdullah (l. 570-632 CE, after whose name Muslims traditionally add “peace …
Islam web - English Fatwa | Articles | Quran Recitation | Prayer …
Islamweb - the largest Islamic and cultural content on the Internet for the users contain fatwa, quran, articles , fiqh , lectures , prayer times , about islam etc
What do Muslims believe and do? Understanding the 5 pillars of …
Aug 30, 2021 · There are five pillars – or basic tenets – of Islamic faith. Each of these pillars is an important part of being Muslim.
Religious Beliefs & History of Islam Religion - Islamic Info Center
Jan 4, 2025 · Islam is one of the world’s major monotheistic religions, with over 1.9 billion followers worldwide. Founded in the 7th century CE by the Prophet Muhammad in the Arabian …
The Islamic Bulletin - A One Stop For All Your Islamic Needs!
We offer many free resources such as Introduction to Islam, free eBooks, Muslim Funeral guide, Hajj guide, Last Will and Testament, Quran studies, Newsletter, videos on How to become …
What is Islam? - IslamiCity
Commonly, Islam refers to the monotheistic religion revealed to Muhammad ibn (son of) Abdullah between 610 and 632 of the Common Era. The name Islam was instituted by the Qur’an, the …
Islam: History, Beliefs, And Modern Significance - WorldAtlas
Jun 3, 2019 · Muslims believe that their sacred text, the Quran, is the absolute word of God as it was revealed to the prophet Muhammad. In the Arabic language Muslim means, “one who …
