The essays in this volume bring to light the artistic exchanges that occurred between successive Islamicdynasties and those further afield in China, Armenia, India and Europe from the 12th to the 19th centuries. All the articles present original research, many of them taking advantage of innovative scientific means allowing us to look at already familiar objects in a new light. Subjects include tile production during the reign of Qaytbay, book bindings associated with Qansuh al-Ghuri, depictions of fish on Mamluk textiles, the relationship between Mamluk metalwork and Rasulid Yemen and Italy respectively. A number of the articles are concerned with epigraphic inscriptions found on the buildings of the Fatimid, Mamluk and Ottoman periods, examining the inscriptions on the Mausoleum of Yahya al-Shibihi in Cairo, others trace the revival of building inscriptions in 19th century Egypt, and how a Mamluk inscription from the Madrasa Qartawiya in Tripoli is replicated in Istanbul during the Ottomanperiod. The relationship between ceilings of the Cappella Palatina in Palermo and the MoukhroutasPalace in Constantinople is also explored, as is the unacknowledged debt that European lacquer worksowes to Persian craftsmen. Other topics covered include the architecture of the Nusretiye Mosque in Istanbul, the role played by Armenian architects in the reshaping of Ottoman cities in the 19th century, the role of the hammam in Ottoman culture and representations of beauty on Iznik pottery. Arictles on Port St. Symeon ceramics, the Armenian patrons of Chinese export wares of the 18th century, the history of the art of khatam khari in Iran, the artistic, architectural and literary influences in India between the 15th and 17th centuries, the influence of Timurid architecture in 15th century Bidar and the influence of a 16th century Hindavi Sufi Romance are also included. "

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.

Family guide, Dazzling details in folded front cover.

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.

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)

This series takes an in-depth look at both the decorative and functional art and design of a given culture. The engaging text explains how the art ties in to the culture, what it means, why it was created, and what it's used for or represents. Fine art, architecture, music and theater, cookware, clothing and textiles and other topics are all discussed. Feature boxes highlight fascinating bits of information on a specific topic, such as African embroidery.

The medieval Islamic world comprised a wide variety of religions. While individuals and communities in this world identified themselves with particular faiths, boundaries between these groups were vague and in some cases nonexistent. Rather than simply borrowing or lending customs, goods, and notions to one another, the peoples of the Mediterranean region interacted within a common culture. Beyond Religious Borders presents sophisticated and often revolutionary studies of the ways Jewish, Christian, and Muslim thinkers drew ideas and inspiration from outside the bounds of their own religious communities. Each essay in this collection covers a key aspect of interreligious relationships in Mediterranean lands during the first six centuries of Islam. These studies focus on the cultural context of exchange, the impact of exchange, and the factors motivating exchange between adherents of different religions. Essays address the influence of the shared Arabic language on the transfer of knowledge, reconsider the restrictions imposed by Muslim rulers on Christian and Jewish subjects, and demonstrate the need to consider both Jewish and Muslim works in the study of Andalusian philosophy. Case studies on the impact of exchange examine specific literary, religious, and philosophical concepts that crossed religious borders. In each case, elements native to one religious group and originally foreign to another became fully at home in both. The volume concludes by considering why certain ideas crossed religious lines while others did not, and how specific figures involved in such processes understood their own roles in the transfer of ideas.