Author: Kathleen Kuiper Manager, Arts and Culture
Publisher: The Rosen Publishing Group, Inc
Release Date: 2009-12-20
Genre: Juvenile Nonfiction
Discusses the art, architecture, literature, and culture of Islamic nations, including the development of Arabic calligraphy, literary elements in Islamic literature, and historic traditions of Islamic visual arts.
Author: Oleg Grabar
Publisher: Markus Wiener Pub
Release Date: 2001
Edited by Oleg Grabar, one of the leading experts in Islamic art history, along with Cynthia Robinson, this book breaks new ground in the field of Middle Eastern art history.While illuminated manuscripts from Persia and the Arab world are outstanding masterpieces of art, only recent scholarship in Islamic visual culture includes written sources in its consideration of the relationships between the textual and visual worlds. Likewise, scholars of Arabic and Persian literature have become aware of the comparative and interpretive possibilities contained within visual sources. Nevertheless, separation between the two fields of inquiry remains prevalent. These six essays--three by art historians and three by specialists in Arabic and Persian literature--examine specific instances in which texts and images which would seem to have been intended as one cultural product have traditionally been studied separately. Each essay reunites visual and written or oral products in order to evaluate the mechanisms through which written (or spoke) texts and the images produced in conjunction with them operate in precise contexts.The essays are enhanced with beautiful illustrations selected by the contributors.
Author: Finbarr Barry Flood
Publisher: John Wiley & Sons
Release Date: 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)
Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.
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.
Author: R. M. Savory
Publisher: Cambridge University Press
Release Date: 1976-05-28
Eighteen essays depict the historical and cultural background of Islamic society, its contributions to world literature, art, science, and medicine, and the consequences of its interaction with the Christian West
Author: Ira M. Lapidus
Publisher: Cambridge University Press
Release Date: 2002-08-22
An accessible worldwide history of Muslim societies provides updated coverage of each country and region, in a volume that discusses their origins and evolution while offering insight into historical processes that shaped contemporary Islam and surveying its growing influence. Simultaneous. (Social Science)
Author: Idham Mohammed Hanash
Publisher: International Institute of Islamic Thought (IIIT)
Release Date: 2017-01-01
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.
Author: Mohammed Yamin
Consisting of plurality of religions and cultures, Orissa has been the home of different traditions. It presents reconciliation, mutual exchange and peaceful co-existence. The advent of Islam in Orissa led to further changes in the socio-cultural fabric of Orissan society. Tracing the advent and spread of Islam in Orissa, this book makes a comprehensive study of its impact on various aspects of Orissan society-religion, social set-up, literature, art and architecture, and economy. The role of Sufi saints and Bhakti poets towards creating harmonious relations between Hindus and Muslims has also been examined.
Author: Seyyed Hossein Nasr
Publisher: SUNY Press
Release Date: 1990-01-01
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 wholethe 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.
"Muqarnas" is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In "Muqarnas" articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.
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.
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.