Patricia Crone's Collected Studies in Three Volumes brings together a number of her published, unpublished, and revised articles. the present volume pursues the reconstruction of the religious environment in which Islam arose and develops an intertextual approach to studying the Qurʾānic religious milieu.

Patricia Crone's Collected Studies in Three Volumes brings together a number of her published, unpublished, and revised writings on Near Eastern and Islamic history, arranged around three distinct but interconnected themes. Volume 1, The Qurʾānic Pagans and Related Matters, pursues the reconstruction of the religious environment in which Islam arose and develops an intertextual approach to studying the Qurʾānic religious milieu. Volume 2, The Iranian Reception of Islam: The Non-Traditionalist Strands, examines the reception of pre-Islamic legacies in Islam, above all that of the Iranians. Volume 3, Islam, the Ancient Near East and Varieties of Godlessness, places the rise of Islam in the context of the ancient Near East and investigates sceptical and subversive ideas in the Islamic world. The Iranian Reception of Islam: The Non-Traditionalist Strands Islam, the Ancient Near East and Varieties of Godlessness

Early Islamic Art, 650-1100 is the first in a set of four volumes of studies by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century. Each volume takes a particular section of the topic, the three subsequent volumes being entitled: Islamic Visual Culture, 1100-1800; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The present volume concentrates primarily on documents provided by archaeology understood in its widest sense, and including the study of texts with reference to monuments or to the contexts of these monuments. The articles included represent major contributions to the understanding of the formative centuries of Islamic art, focusing on the Umayyad (661-750) and Fatimid (969-1171) dynasties in Greater Syria and in Egypt, and on the Mediterranean or Iranian antecedents of early Islamic art. Historical, cultural, and religious themes, including the role of court ceremonies, the growth of cities, and the importance of the Qur'an, are introduced to help explain how a new art was formed in the central lands of the Near East and how its language can be retrieved from visual or written sources.

Islamic Visual Culture, 1100-1800 is the second in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art 650-1100; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The focus of the present volume 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 volume constitutes a catalogue of one hundred and seventy-four chordophones from a wide range of cultures in the collections of the Canadian Centre for Folk Culture Studies.

Patricia Crone's Collected Studies in Three Volumes brings together a number of her published, unpublished, and revised writings on Near Eastern and Islamic history, arranged around three distinct but interconnected themes. Volume 2, The Iranian Reception of Islam: The Non-Traditionalist Strands, examines the reception of pre-Islamic legacies in Islam, above all that of the Iranians. Volume 1, The Qurʾānic Pagans and Related Matters, pursues the reconstruction of the religious environment in which Islam arose and develops an intertextual approach to studying the Qurʾānic religious milieu. Volume 3, Islam, the Ancient Near East and Varieties of Godlessness, places the rise of Islam in the context of the ancient Near East and investigates sceptical and subversive ideas in the Islamic world. The Qurʾānic Pagans and Related Matters Islam, the Ancient Near East and Varieties of Godlessness