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Transcendent God, Rational World
Ramon Harvey revisits the Muslim theologian Abū Manṣūr al-Māturīdī (d. 333/944) from Samarqand and puts his system, and that of the Māturīdī school, into lively dialogue with modern thought to show that a contemporary Muslim philosophical theology (kalām jadīd) can provide original and constructive answers to perennial theological questions.
The Making of Islamic Art
"In their own words, Jonathan Bloom and Sheila Blair espouse 'things and thinginess rather than theories and isations'. Its many insights, firmly anchored in artistic practice, are supported by ample technical know-how. The range is wide - mosques becoming temples; how religious buildings reflect politics; Yemeni frescoes and inscriptions; domestic Syrian 18th-century ornament; Egyptian bookbinding techniques; recycling and repair in Damascene crafts; conservation versus restoration; narrative on ceramics; metalwork with architectural motifs; lost buildings reconstructed; how objects speak; Muslim burials in China; the role of migrating potters; Mughal painting; stone carpet weights; the use of metals in Islamic manuscripts, calligraphy and modern artists' books. This book's practical, down-to-earth dimension, expressed in plain, simple English, runs counter to the current fashion for theoretical explanations and their accompanying jargon when exploring the world of Islamic art. This bottom-up approach differs radically and refreshingly from that of much top-down contemporary scholarship. It privileges the maker rather than the patron."--Publisher description.
Islamic Chinoiserie
This illustrated book aims to provide a fresh insight into medieval Islamic art through the prism of Chinese elements in Iranian art under the Mongols.
Making of the Artist in Late Timurid Painting
In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.
Studies in the Islamic Arts of the Book
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 Saf...
The Minaret
Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. Drawing on buildings, archaeological reports, medieval histories, geographies, and early Arabic poetry, he reinterprets the origin, development, and meanings of the minaret and provides a sweeping historical and geographical tour of the minaret's position as the symbol of Islam.
Text and Image in Medieval Persian Art
Focusing on 5 objects found in the main media from the 10th to the 16th century - ceramics, metalware, painting, architecture and textiles - Sheila S. Blair shows how Greater Iranian artisans played with form, material and decoration to engage their audiences.
What is “Islamic” Art?
An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music.
KaE ba Orientations
The most sacred site of Islam, the KaE ba (the granite cuboid structure at the centre of the Great Mosque of Mecca) is here investigated by examining six of its predominantly spatial effects: as the qibla (the direction faced in prayer); as the axis and matrix mundi of the Islamic world; as an architectural principle in the bedrock of this world; as a circumambulated goal of pilgrimage and site of spiritual union for mystics and Sufis; and as a dwelling that is imagined to shelter temporarily an animating force; but which otherwise, as a house, holds a void.
Islamic Arts and Crafts
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.
