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The articles selected for Islamic Art and Beyond, the third in the set of four selections of articles by Oleg Grabar, 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. 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.
A collection of studies, published over three decades, which deal with the materials, issues and problems of Islamic painting ranging from 10th-century Egypt, Ottoman Turkey to 19th-century Persia.
Studies in the Islamic Arts of the Book by Robert Hillenbrand Pdf
The studies collected in this volume, some of them rather difficult of access, date mostly from the last fifteen years and focus primarily on Persian book painting of the 14th to the early 16th centuries. In this period Iran dominated the art of book painting in the Islamic world. The articles reprinted here examine various aspects of this, the golden age of Persian painting. They range from the period of Mongol rule, when the impact of Far Eastern themes and modes radically transformed the heritage bequeathed to Iran by Arab painting - a textbook case of the clash of civilisations - to the dawn of the modern era and the swansong of the classical style of Persian painting under the early Safavids. Yet other articles focus on the roots of book painting in the themes and styles developed in painted ceramics, on medieval Qur'anic calligraphy, on bookbinding and on the remarkably original variations played on the hitherto hackneyed theme of the figural frontispiece by Arab painters. Two major leitmotifs are explored in this selection of essays. One is provided by the constantly varying interpretations of the Shahnama (The Book of Kings), the Persian national epic, and especially the tendency of painters to interpret this familiar text in terms of contemporary politics. The other is the interplay of text and image, which highlights the tendency of painters to strike out on their own and to leave the literal text progressively further behind while they develop plots and sub-plots of their own. These enquiries are set within the context of a concerted effort to explore in detail how Persian painters achieved their most spectacular visual effects. In its combination of general surveys and closely focused analyses of individual manuscripts, this collection of articles will be of interest to specialists in book painting and in Islamic art as a whole.
Islamic Visual Culture, 1100-1800 by Oleg Grabar Pdf
Islamic Visual Culture, 1100-1800 is the second in a set of four selections of studies by Oleg Grabar. Its focus is on the key centuries - the eleventh through fourteenth - during which the main directions of traditional Islamic art were created and developed and for which classical approaches of the History of Art were adopted. Manuscript illustrations and the arts of objects dominate the selection of articles, but there are also forays into later times like Mughal India and into definitions of area and period styles, as with the Mamluks in Egypt and the Ottomans, or into parallels between Islamic and Christian medieval arts.
Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set by Jonathan Bloom,Sheila Blair Pdf
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.
Affect, Emotion, and Subjectivity in Early Modern Muslim Empires: New Studies in Ottoman, Safavid, and Mughal Art and Culture by Kishwar Rizvi Pdf
Affect, Emotion and Subjectivity in Early Modern Muslim Empires is a study of art, literature and architecture that considers the intentions and motivations of patrons and artists in the urban and cultural milieu of the Ottoman, Safavid and Mughal courts.
Studies in the Islamic Decorative Arts by Robert Hillenbrand Pdf
Islamic artists channelled their energies not into easel painting and large-scale sculpture, but rather into what Western scholars, obeying a very different hierarchy of art forms, rather disparagingly term the decorative arts or even the minor arts. In point of fact, some of the greatest masterpieces of Islamic art are in the media of ceramics, metalwork, textiles, ivory and glass. Often the images they bear express a complex set of meanings, for Islam inherited much material from the iconographic systems of earlier civilizations, notably those of the ancient Near East and of the classical world. Islam also developed its own distinctive vocabulary of signs and symbols. Accordingly, questions of iconography and meaning bulk large among the studies gathered together in the present volume. These studies, written over a period of almost thirty years, and taken from a wide variety of published sources, deal with aspects of the decorative arts from Spain to India and from the 7th to the 17th century. They focus in turn upon ceramics and metalwork; on coins, carpets and calligraphy; and on carving in wood and ivory. They are arranged under three headings. The first comprises general surveys of the field covering the content of these arts and confronting the challenges they present, such as the Islamic approach to three-dimensional sculpture. The second deals with questions of iconography and meaning, while the third comprises a series of studies devoted to specific media such as ivory, woodwork and numismatics. This volume therefore offers not only a general introduction to some of the problems posed by Islamic art, but also readings of key objects in an attempt to explore their meaning; and finally, an in-depth focus on individual objects representing specific genres and media.
Further Studies in Islamic Painting by Ernst Grube Pdf
Short description: A collection of Professor Grube's essays on the painting of the late 14th and 15th century in the Timurid empire and that of Ottoman Turkey. This is a new revised edition of the 1968 exhibition catalogue The Classical Style of Islamic Painting, which has substantially widened its focus and time span. Long description:The studies by Ernst Grube collected and reprinted in this volume are concerned with two aspects of painting in the Muslim world, that of the late 14th and 15th century in the Timurid empire, and that of Ottoman Turkey. The focal point of this volume is the new edition of the 1968 exhibition-catalogue, The Classical Style in Islamic Painting; this was a study on the origin of Timurid painting and its impact on other royal painting ateliers in the rest of the Muslim world. At that date, the author was of the opinion that the style developed in the atelier of Baysunghur Mirza ibn Shah Rukh, Timur's grandson and one of the great bibliophiles of the age, was considered a "classical" achievement by his contemporaries and the princely bibliophiles of the next two generations. Its apparent perfection led these princes and their artists to emulate its qualities and mannerisms for over two centuries. Written as a catalogue accompanying an exhibition at the Pierpont Morgan Library in New York in 1968, the selection of works was restrained both by the limits of material then available, and by the fact that relatively little was then known about the bibliophile endeavours of Baysunghur's cousin, Iskandar Sultan ibn 'Umar Shaykh. As we know now, Iskandar matched, and exceeded in many ways, the achievements of Baysunghur, laying the foundation upon which much of what Baysunghur achieved was based. Taking full advantage of the materials from Iskandar's atelier which have now become available in research over the last thirty years, the original text of The Classical Style has been rewritten. No longer restrained by the framework of an exhibition, it has been largely illustrated with new material. While the original concept remains basically unaltered, his new study shifts the focus slightly, taking into account the earlier sources that illuminate the bibliophile achievement of the period. As The Classical Style in Islamic Painting has been out of print for over 25 years, this updated version should be particularly welcome. A second major study included in this volume does focus on Baysunghur, examining two manuscripts of the renowned stories of the two jackals, Kalilah and Dimnah, at the court of the Lion King; they were made for the prince within two years of each other. All the paintings in these exquisite codices are illustrated; a comparison between what would appear to be a pre-Baysunghur version with that made in the prince's own atelier leads to new insights into the problems that still surround the history of painting in that period. A third study tackles the extraordinary set of paintings probably produced in the late 19th century that are based on Baysunghur's famous Shah-namah completed in Herat in 1431. Lastly, the studies dealing with Ottoman Turkish painting range from problems of the identification of the earliest Ottoman style at the end of the 15th century, to the reaction of the Ottoman world to the Kalilah wa Dimnah stories, and the realistic contemporary interpretation of the ancient tradition of Firdausi's Shah-namah.
A riveting exploration of how the Fatimid dynasty carefully orchestrated an architectural program that proclaimed their legitimacy This groundbreaking study investigates the early architecture of the Fatimids, an Ismaili Shi‘i Muslim dynasty that dominated the Mediterranean world from the 10th to the 12th century. This period, considered a golden age of multicultural and interfaith tolerance, witnessed the construction of iconic structures, including Cairo’s al-Azhar and al-Hakim mosques and crucial renovations to Jerusalem’s Dome of the Rock and Aqsa Mosque. However, it also featured large-scale destruction of churches under the notorious reign of al-Hakim bi-Amr Allah, most notably the Church of the Holy Sepulcher in Jerusalem. Jennifer A. Pruitt offers a new interpretation of these and other key moments in the history of Islamic architecture, using newly available medieval primary sources by Ismaili writers and rarely considered Arabic Christian sources. Building the Caliphate contextualizes early Fatimid architecture within the wider Mediterranean and Islamic world and demonstrates how rulers manipulated architectural form and urban topographies to express political legitimacy on a global stage.
Studies in Islamic Painting, Epigraphy and Decorative Arts by Bernard O'Kane Pdf
This lavishly illustrated volume features 19 articles by Bernard O'Kane on a wealth of topics in medieval Islamic art, from the Siyah Qalam album paintings and Arab and Persian illustrated manuscripts, to Egyptian and Iranian decorative arts, and to epigraphic developments in Persian and Arabic.
The Bloomsbury Companion to Islamic Studies by Clinton Bennett Pdf
The Bloomsbury Companion to Islamic Studies is a comprehensive one volume reference guide to Islam and study in this area. A team of leading international scholars - Muslim and non-Muslim - cover important aspects of study in the field, providing readers with a complete and accessible source of information to the wide range of methodologies and theoretical principles involved. Presenting Islam as a variegated tradition, key essays from the contributors demonstrate how it is subject to different interpretations, with no single version privileged. In this volume, Islam is treated as a lived experience, not only as theoretical ideal or textual tradition. Featuring a series of indispensable research tools, including a substantial A-Z of key terms and concepts, chronology and a detailed list of resources, this is the essential reference guide for anyone working in Islamic Studies.
The Theory of Islamic Art by Idham Mohammed Hanash Pdf
Divine oneness as the principle of beauty is perhaps quintessentially Islamic artistic expression and experience and what it celebrates. Why has Islamic art evolved as it has, what forms does it take, what is the logic underlying it? What message is the Muslim artist attempting to convey, what emotion is he seeking to evoke? This work views Islamic art as a subject of archeological study and treats its evolution as part of the historical study of art in the broader sense. At the same time, it paves the way for an epistemological shift from viewing Islamic art as a material concept having to do with beautiful rarities and relics that have grown out of Islamic cultural and artistic creativity, to a theoretical concept associated with a vision, a principle, a theory and a method. This theo-retical concept provides the intellectual and cultural foundation for a critical philosophical science of Islamic artistic beauty to which we might refer as ‘the science of Islamic art,’ or ‘the Islamic aesthetic’ that evaluates visual artistic creations in terms of both beauty and practical usefulness. In the process the study also explores orientalist misconceptions, challenging some of the premises with which it has approached Islamic art, with judgement rooted in a cultural framework alien to the spiritual perspective of Islam.
A Companion to Islamic Art and Architecture by Finbarr Barry Flood,Gulru Necipoglu Pdf
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)
