Ebook Download Islamic Designs Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Ebook Download Islamic Designs Ebook ISLAMIC DESIGNS PDF, EPUB, EBOOK Eva Wilson | 128 pages | 15 Feb 1988 | BRITISH MUSEUM PRESS | 9780714180663 | English | London, United Kingdom Islamic Designs PDF Book Whether isolated or used in combination with nonfigural ornamentation or figural representation , geometric patterns are popularly associated with Islamic art, largely due to their aniconic quality. Retrieved 4 December Citation Department of Islamic Art. Lustre tiles from Iran, probably Kashan , , in the shapes of the Sufi symbols for the divine breath. Are you looking for a piece of art decor that will freshen up your home style and add some good vibes to your living space? Iraq, — A. Kaplan explains and illustrates in his Ph. Princeton: Princeton University Press, Further information: Islamic pottery. Iran, — A. Architectural drawing for brick vaulting, Iran, probably Tehran, — Iraq Mesopotamia , — A. The circle symbolizes unity and diversity in nature, and many Islamic patterns are drawn starting with a circle. Wall Panel with Geometric Interlace. These abstract designs not only adorn the surfaces of monumental Islamic architecture but also function as the major decorative element on a vast array of objects of all types. Geometric pattern characteristic of Muslim art. They are often elaborately decorated. Iron gate with point stars and kites at Al-Rifa'i Mosque , Cairo — Craig S. Flat-woven carpets: Techniques and structures". More elaborate combined point geometrical patterns are found in the Sultan Hasan complex in Cairo in , but rarely elsewhere. They are characteristic of Islamic architecture of the Middle Ages from Spain and Morocco in the west to Persia in the east. The underling tiling pattern is usually hidden beneath the final design, as if behind a veil, but the viewer is always given an intimation of the hidden order and this is part of what gives the designs their meditative power. The Encyclopaedia of Islam. Journal of Applied Crystallography. Main article: Jali. Lu and Paul Steinhardt who controversially claimed in that tilings at the Darb-e Imam shrine in Isfahan could generate quasi-periodic patterns like Penrose tilings. It is designed in woodland or rustic style. It shows a cutout folk flower mandala inspired with crocuses flowers. Patterns in the "shabaka" windows include 6-, 8-, and point stars. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. It is found in the surviving summer residence of the Palace of Shaki Khans , Azerbaijan , constructed in The significant intellectual contributions of Islamic mathematicians, astronomers , and scientists were essential to the creation of this unique new style. It is sometimes supposed in Western society that mistakes in repetitive Islamic patterns such as those on carpets were intentionally introduced as a show of humility by artists who believed only Allah can produce perfection, but this theory is denied. Consisting of, or generated from, such simple forms as the circle and the square, geometric patterns were combined, duplicated, interlaced, and arranged in intricate combinations, thus becoming one of the most distinguishing features of Islamic art. University of St Andrews. Time to escape Retrieved 7 December The future of art in a digital age: from Hellenistic to Hebraic consciousness. Basin with Figural Imagery. Archived from the original on 13 April Islamic Designs Writer Hankin considered the "skill of the Arabian artists in discovering suitable combinations of polygons.. These wood-framed decorative windows are distinctive features of the palace's architecture. The mathematical properties of the decorative tile and stucco patterns of the Alhambra palace in Granada, Spain have been extensively studied. While geometric ornamentation may have reached a pinnacle in the Islamic world, the sources for both the shapes and the intricate patterns already existed in late antiquity among the Greeks , Romans , and Sasanians in Iran. The Prince's School of Traditional Arts. Salon du Tapis d'Orient. Are you looking for a piece of art decor that will freshen up your home style and add some good vibes to your living space? However, in the view of Hamilton Gibb , the emphasis differs: geometric patterns tend to be used for borders, and if they are in the main decorative area they are most often used in combination with other motifs such as floral designs, arabesques, animal motifs, or calligraphic script. Droste effect Mathematical beauty Patterns in nature Sacred geometry. Muqarnas are elaborately carved ceilings to semi- domes , often used in mosques. In , Ahmad Rafsanjani described the use of Islamic geometric patterns from tomb towers in Iran to create auxetic materials from perforated rubber sheets. The Hindu. Greenwood Publishing Group. South Asia: North, — A. It is clear, however, that the complex patterns found on many objects include a number of different shapes and arrangements, allowing them to fit into more than one category. Through the Collector's Eye. Most designs are based on a partially hidden geometric grid which provides a regular array of points; this is made into a pattern using 2-, 3-, 4-, and 6-fold rotational symmetries which can fill the plane. The Eastern Mediterranean, — A. Geometric pattern characteristic of Muslim art. This combination creates the Mandala piece like sharp ultra fashion decor with healing and harmonizing qualities. Central and North Asia, A. Its round lace pattern…. Escher was inspired by the Alhambra 's intricate decorative designs to study the mathematics of tessellation , transforming his style and influencing the rest of his artistic career. Main article: Jali. Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics , leather, stained glass, woodwork, and metalwork. National Math Festival. Journal of Applied Crystallography. Polykleitos Canon Vitruvius De architectura. Patterns in the "shabaka" windows include 6-, 8-, and point stars. Princeton: Princeton University Press, Pair of Minbar Doors. Traditional Window, Sana'a , Yemen. Geometrically patterned stained glass is used in a variety of settings in Islamic architecture. Views Read Edit View history. Islamic and Geometric Art. The visible pattern superimposed on the grid is also geometric, with 6-, 8-, and pointed stars and a variety of convex polygons, joined by straps which typically seem to weave over and under each other. Still need a virtual holiday to get you through this long, long, long Wednesday? They are characteristic of Indo-Islamic architecture , for example in the Mughal dynasty buildings at Fatehpur Sikri and the Taj Mahal. Islamic Designs Reviews Download as PDF Printable version. The Victoria and Albert Museum in London holds at least such objects, of materials including wallpaper, carved wood, inlaid wood, tin- or lead-glazed earthenware, brass, stucco, glass, woven silk, ivory, and pen or pencil drawings. Most designs are based on a partially hidden geometric grid which provides a regular array of points; this is made into a pattern using 2-, 3-, 4-, and 6-fold rotational symmetries which can fill the plane. Time to escape High-Tin Bronze Bowl. National Math Festival. British Broadcasting Corporation. The decorative elements deployed use a range of symmetries that have now been classified as belonging to distinct mathematical groups, but the subtlety and beauty of the designs is unparallelled in modern mathematical thinking. Fragment of a Cover with Geometric and Interlace Decoration. Muqarnas in Shah Mosque , Isfahan , Iran. Akademik Bilgi Sistemi in Turkish. They showed that rather than the traditional ruler and compass construction, it was possible to create girih designs using a set of five "girih tiles", all equilateral polygons, secondarily decorated with lines for the strapwork. Gorgias Press LLC. The Guardian. They form a three-fold hierarchy in which geometry is seen as foundational. Iraq Mesopotamia , — A. I hope you find a gradient coloring very attractive! Two physicists, Peter J. Salon du Tapis d'Orient. Wikimedia Commons. Girih at Shah-i- Zinda in Samarkand , Uzbekistan. That design, however, is overlaid with an intersecting tracery in blue around tiles of other colours, forming an elaborate pattern that partially conceals the original and underlying design. Khatam Minbar Paan dan. Bibcode : Sci When a conventional material is stretched along one axis, it contracts along other axes at right angles to the stretch. Central and North Asia, — A. Bonner Design. Flat-woven carpets: Techniques and structures". Whether isolated or used in combination with nonfigural ornamentation or figural representation , geometric patterns are popularly associated with Islamic art, largely due to their aniconic quality. Iberian Peninsula, — A. Craig S. The pattern above after Paul Marchant is based on elements of medieval designs typically found in Cairo. Tile from a Mihrab. Tile from a Squinch. Department of Islamic Art. Geometric patterns make up one of the three nonfigural types of decoration in Islamic art , which also include calligraphy and vegetal patterns. Tiles inside the Jame Mosque of Yazd , Persia, with geometric and vegetal patterns. South Asia, — A. Kilim Catalogue No. It is designed in woodland or rustic style. Potters often chose patterns suited to the shape of the vessel they were making. Such patterns
Recommended publications
  • Cultura E Scienza Del Colore - Color Culture and Science Journal, 10, Pp
    7 1Meriem Benkhedda [email protected] Color on Ceramics in the Medieval 2Kheira Tabet Aoul [email protected] Architecture of Tlemcen, Algeria: [corresponding author] 1Département d’Architecture, Light, Ambiance and Symbolism Université des Sciences et de la Technologie d’Oran Mohamed Boudiaf, USTO-MB, Oran, Algeria ABSTRACT 2 Department of Architectural Engineering, College of Engineering, United Arab The architectural heritage of the Marinid and Ziyanid dynasties in the region of Emirates University, POBox Tlemcen (Algeria) is characterized by geometric and floral shapes of the ornamental 15551, Al Ain, United Arab ceramic of particularly rich polychromic expressions. This ornamentation defines Emirates the minarets, porches, interior courtyards and patios. The ceramic colors in different tones and arrangements provide spaces with an exceptional quality that highly characterizes this medieval Arab architecture. The polychromic compositions of the ceramic with their intrinsic spatial and aesthetical value remain largely unexplored. This research attempts to explore first, an untapped ancestral know-how or “savoir- faire” and second, to demonstrate that this architectural heritage has a colorful atmosphere, whose evolution is linked to the relationship between shapes, lights, materials and colors as well as its socio-cultural context. The investigation method consists of a survey of colors on ceramics and an analysis of arrangement patterns between colors and geometry (relationship and mixtures of colors) to determine the rhythms, harmonies of figures and background, optical compositions, and finally determine the color language and agreements that result. Color properties, the subtle combination of colors and materials interacting with an exquisite geometry display a decisive influence on the appearance and the ambiance that emerge, providing brightness and light, creating rhythm, motley and fusion in a web of optical effects, filled with symbolism, suitable for the cultural and religious circumstances of the place.
    [Show full text]
  • The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
    The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí.
    [Show full text]
  • Symmetry As an Aesthetic Factor
    Comp. & Maths. with Appls, Vol. 12B, Nos. I/2, pp. 77-82. 1986 0886-9561/86 $3,1)0+ .00 Printed in Great Britain. © 1986 Pergamon Press Ltd. SYMMETRY AS AN AESTHETIC FACTOR HAROLD OSBORNEt Kreutzstrasse 12, 8640 Rappersvill SG, Switzerland Abstract--In classical antiquity symmetry meant commensurability and was believed to constitute a canon of beauty in nature as in art. This intellectualist conception of beauty persisted through the Middle Ages with the addition doctrine that the phenomenal world manifests an imperfect replica of the ideal symmetry of divine Creation. The concept of the Golden Section came to the fore at the Renaissance and has continued as a minority interest both for organic nature and for fine art. The modern idea of symmetry is based more loosely upon the balance of shapes or magnitudes and corresponds to a change from an intellectual to a perceptual attitude towards aesthetic experience. None of these theories of symmetry has turned out to be a principle by following which aesthetically satisfying works of art can be mechanically constructed. In contemporary theory the vaguer notion of organic unity has usurped the prominence formerly enjoyed by that of balanced symmetry. From classical antiquity the idea of symmetry in close conjunction with that of proportion dominated the studio practice of artists and the thinking of theorists. Symmetry was asserted to be the key to perfection in nature as in art. But the traditional concept was radically different from what we understand by symmetry today--so different that "symmetry" can no longer be regarded as a correct translation of the Greek word symmetria from which it derives--and some acquaintance with the historical background of these ideas is essential in order to escape from the imbroglio of confusion which has resulted from the widespread conflation of the two.
    [Show full text]
  • Islamic Geometric Patterns Jay Bonner
    Islamic Geometric Patterns Jay Bonner Islamic Geometric Patterns Their Historical Development and Traditional Methods of Construction with a chapter on the use of computer algorithms to generate Islamic geometric patterns by Craig Kaplan Jay Bonner Bonner Design Consultancy Santa Fe, New Mexico, USA With contributions by Craig Kaplan University of Waterloo Waterloo, Ontario, Canada ISBN 978-1-4419-0216-0 ISBN 978-1-4419-0217-7 (eBook) DOI 10.1007/978-1-4419-0217-7 Library of Congress Control Number: 2017936979 # Jay Bonner 2017 Chapter 4 is published with kind permission of # Craig Kaplan 2017. All Rights Reserved. This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]
  • Semiology Study of Shrine Geometric Patterns of Damavand City of Tehran Province1
    Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 Semiology Study of Shrine Geometric patterns of Damavand City of Tehran Province1 Atieh Youzbashi Masterof visual communication, Faculty of Art, Shahed University, Tehran, Iran [email protected] Seyed Nezam oldin Emamifar )Corresponding author) Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran [email protected] Abstract Remained works of decorative Arts in Islamic buildings, especially in religious places such as shrines, possess especial sprits and visual depth. Damavand city having very beautiful architectural works has been converted to a valuable treasury of Islamic architectural visual motifs. Getting to know shrines and their visual motifs features is leaded to know Typology, in Typology, Denotation and Connotation are the concept of truth. This research is based on descriptive and analytical nature and the collection of the data is in a mixture way. Sampling is in the form of non-random (optional) and there are 4 samples of geometric motifs of Damavand city of Tehran province and the analysis of information is qualitatively too. In this research after study of geometric designs used in this city shrines, the amount of this motifs confusion are known by semiotic concepts and denotation and connotation meaning is stated as well. At first the basic articles related to typology and geometric motifs are discussed. Discovering the meaning of these motifs requires a necessary deep study about geometric motifs treasury of believe and religious roots and symbolic meaning of this motifs. Geometric patterns with the centrality of the circle In drawing, the incidence abstractly and creating new combination is based on uniformly covering surfaces in order not to attract attention to designs independently creating an empty space also recalls “the principle of unity in diversity” and “diversity in unity”.
    [Show full text]
  • Casablanca ENG.Indd
    2 3 Casablanca SPAIN MEDITERRANEAN SEA Saïdia Rabat ATLANTIC OCEAN 5 Editorial Zagora 6 A city with the ocean on its doorstep 8 A city of the future ALGERIA CANARY ISLANDS 10 The Hassan II Mosque 12 Casablanca, a happening city 16 Experiencing the city 18 Activities in the city 20 Casablanca, seaside resort 22 The Casablanca region 26 Information and useful addresses MAURITANIA 4 5 Editorial Casablanca, an exhilarating megalopolis The sun is scarcely above the horizon and Casablanca is already waking up. Little red taxis play dodgems at the feet of the white city’s ultra-modern buildings. There is no escaping the allure of its grandeur, its pure energy, and all of a sudden we ourselves are imbued with the same heady dynamism. Casablanca, economic heart of the Kingdom, lives at a frenetic pace. Business and art go side by side here, often intermingling. It is here, above all, that tones and trends are set. Why is it that so many artists have found their inspiration in Casablanca? Perhaps the contrasting curves of its Art Deco buildings are enough to cast a spell over them. The richness of the city’s architectural heritage is sufficient in itself to call forth the image of a city where time has no hold. Charged with In Casablanca, modern history yet resolutely turned towards the future, this most cosmopolitan of cities, buildings stand side where every nationality is represented, parades its modernity for all to see. by side with Arab-An- dalusian architecture and Art Deco creations Morocco’s economic nerve centre and keeper of a unique historical heritage, from the 1920s Casablanca reveals all of its many faces to us.
    [Show full text]
  • The Traditional Arts and Crafts of Turnery Or Mashrabiya
    THE TRADITIONAL ARTS AND CRAFTS OF TURNERY OR MASHRABIYA BY JEHAN MOHAMED A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Art Graduate Program in Liberal Studies Written under the direction of Dr. Martin Rosenberg And Approved by ______________________________ Dr. Martin Rosenberg Camden, New Jersey May 2015 CAPSTONE ABSTRACT The Traditional Arts and Crafts of Turnery or Mashrabiya By JEHAN MOHAMED Capstone Director: Dr. Martin Rosenberg For centuries, the mashrabiya as a traditional architectural element has been recognized and used by a broad spectrum of Muslim and non-Muslim nations. In addition to its aesthetic appeal and social component, the element was used to control natural ventilation and light. This paper will analyze the phenomenon of its use socially, historically, artistically and environmentally. The paper will investigate in depth the typology of the screen; how the different techniques, forms and designs affect the function of channeling direct sunlight, generating air flow, increasing humidity, and therefore, regulating or conditioning the internal climate of a space. Also, in relation to cultural values and social norms, one can ask how the craft functioned, and how certain characteristics of the mashrabiya were developed to meet various needs. Finally, the study of its construction will be considered in relation to artistic representation, abstract geometry, as well as other elements of its production. ii Table of Contents Abstract……………………………………………………………………….……….…..ii List of Illustrations………………………………………………………………………..iv Introduction……………………………………………….…………………………….…1 Chapter One: Background 1.1. Etymology………………….……………………………………….……………..3 1.2. Description……………………………………………………………………...…6 1.3.
    [Show full text]
  • Illumination Underfoot the Design Origins of Mamluk Carpets by Peter Samsel
    Illumination Underfoot The Design Origins of Mamluk Carpets by Peter Samsel Sophia: The Journal of Traditional Studies 10:2 (2004), pp.135-61. Mamluk carpets, woven in Cairo during the period of Mamluk rule, are widely considered to be the most exquisitely beautiful carpets ever created; they are also perhaps the most enigmatic and mysterious. Characterized by an intricate play of geometrical forms, woven from a limited but shimmering palette of colors, they are utterly unique in design and near perfect in execution.1 The question of the origin of their design and occasion of their manufacture has been a source of considerable, if inconclusive, speculation among carpet scholars;2 in what follows, we explore the outstanding issues surrounding these carpets, as well as possible sources of inspiration for their design aesthetic. Character and Materials The lustrous wool used in Mamluk carpets is of remarkably high quality, and is distinct from that of other known Egyptian textiles, whether earlier Coptic textiles or garments woven of wool from the Fayyum.3 The manner in which the wool is spun, however – “S” spun, rather than “Z” spun – is unique to Egypt and certain parts of North Africa.4,5 The carpets are knotted using the asymmetrical Persian knot, rather than the symmetrical Turkish knot or the Spanish single warp knot.6,7,8 The technical consistency and quality of weaving is exceptionally high, more so perhaps than any carpet group prior to mechanized carpet production. In particular, the knot counts in the warp and weft directions maintain a 1:1 proportion with a high degree of regularity, enabling the formation of polygonal shapes that are the most characteristic basis of Mamluk carpet design.9 The red dye used in Mamluk carpets is also unusual: lac, an insect dye most likely imported from India, is employed, rather than the madder dye used in most other carpet groups.10,11 Despite the high degree of technical sophistication, most Mamluks are woven from just three colors: crimson, medium blue and emerald green.
    [Show full text]
  • Celebrating Thirty Years of Muqarnas
    Muqarnas An Annual on the Visual Cultures of the Islamic World Celebrating Thirty Years of Muqarnas Editor Gülru Necipoğlu Managing Editor Karen A. Leal volume 30 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN • BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978 90 04 25576 0 CONTENTS Gülru Necİpoğlu, Reflections on Thirty Years of Muqarnas . 1 Benedict Cuddon, A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston . 13 Silvia Armando, Ugo Monneret de Villard (1881–1954) and the Establishment of Islamic Art Studies in Italy . 35 Ayşİn Yoltar-Yildirim, Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in t he Early Twentieth Century . 73 D. Fairchild Ruggles, At the Margins of Architectural and Landscape History: The Rajputs of South Asia . 95 Jennifer Pruitt, Method in Madness: Recontextualizing the Destruction of Churches in the Fatimid Era . 119 Peter Christensen, “As if she were Jerusalem”: Placemaking in Sephardic Salonica . 141 David J. Roxburgh, In Pursuit of Shadows: Al-Hariri’s Maqāmāt . 171 Abolala Soudavar, The Patronage of the Vizier Mirza Salman . 213 Lâle Uluç, An Iskandarnāma of Nizami Produced for Ibrahim Sultan . 235 NOTES AND SOURCES Serpİl Bağci, Presenting Vaṣṣāl Kalender’s Works: The Prefaces of Three Ottoman Albums . 255 Gülru Necİpoğlu, “Virtual Archaeology” in Light of a New Document on the Topkapı Palace’s Waterworks and Earliest Buildings, circa 1509 . 315 Ebba Koch, The Wooden Audience Halls of Shah Jahan: Sources and Reconstruction .
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • Muhammad Speaking of the Messiah: Jesus in the Hadīth Tradition
    MUHAMMAD SPEAKING OF THE MESSIAH: JESUS IN THE HADĪTH TRADITION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Fatih Harpci (May 2013) Examining Committee Members: Prof. Khalid Y. Blankinship, Advisory Chair, Department of Religion Prof. Vasiliki Limberis, Department of Religion Prof. Terry Rey, Department of Religion Prof. Zameer Hasan, External Member, TU Department of Physics © Copyright 2013 by Fatih Harpci All Rights Reserved ii ABSTRACT Much has been written about Qur’ānic references to Jesus (‘Īsā in Arabic), yet no work has been done on the structure or formal analysis of the numerous references to ‘Īsā in the Hadīth, that is, the collection of writings that report the sayings and actions of the Prophet Muhammad. In effect, non-Muslims and Muslim scholars neglect the full range of Prophet Muhammad’s statements about Jesus that are in the Hadīth. The dissertation’s main thesis is that an examination of the Hadīths’ reports of Muhammad’s words about and attitudes toward ‘Īsā will lead to fuller understandings about Jesus-‘Īsā among Muslims and propose to non-Muslims new insights into Christian tradition about Jesus. In the latter process, non-Muslims will be encouraged to re-examine past hostile views concerning Muhammad and his words about Jesus. A minor thesis is that Western readers in particular, whether or not they are Christians, will be aided to understand Islamic beliefs about ‘Īsā, prophethood, and eschatology more fully. In the course of the dissertation, Hadīth studies will be enhanced by a full presentation of Muhammad’s words about and attitudes toward Jesus-‘Īsā.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and w h itephotographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Accessing the World'sUMI Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8824569 The architecture of Firuz Shah Tughluq McKibben, William Jeffrey, Ph.D. The Ohio State University, 1988 Copyright ©1988 by McKibben, William Jeflfrey. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy.
    [Show full text]