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They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles.
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being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.
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The author was the second wife of Sultan Hussein Kamel of Egypt. After her husband ascended the throne in 1914, she became known as Sultana Melek. Born in Istanbul in 1869, she was a Circassian, but unlike many Circassians in the Ottoman era, she was not a slave. Her mother was Princess Nimet Mouhtar. This book describes her family's history and her own life, and gives a window into the life among the upper classes during the Ottoman Empire from the nineteenth to early twentieth centuries.
The historical studies presented here examine four ideologies—Leninism, Trotskyism, anarchism , and anti-imperialism— still with us, if diffusely. They attempt to overcome the legacies of the Second, Third and Fourth Internationals, and of “real existing socialism”, in the Soviet Union and elsewhere.