Islamic Bibliography David Jacobs Bookbinding
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Islamic Art from the Collection, Oct. 23, 2020 - Dec
It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492). -
Ideals of Leadership — Masterpieces from the Aga Khan Museum
Ideals of Leadership Masterpieces from the Aga Khan Museum Collections ceremonials. ceremonials. The Aga Khan Museum, AKM72 Museum, Khan Aga The complexes, often key sites for court court for sites key often complexes, the establishment of royal garden garden royal of establishment the Opaque watercolour, gold, and ink on paper on ink and gold, watercolour, Opaque yet another aspect of royal patronage: patronage: royal of aspect another yet Qazvin, Iran, 1576-77 Iran, Qazvin, his architectural commissions. architectural his The Aga Khan Museum, AKM703 Museum, Khan Aga The scene depicted here in turn alludes to to alludes turn in here depicted scene seeks to promote dialogue, tolerance and mutual understanding among people. people. among understanding mutual and tolerance dialogue, promote to seeks panel was probably meant for one of one for meant probably was panel Attributed to Sadiqi Beg Beg Sadiqi to Attributed miniature painter in his own right. The The right. own his in painter miniature heritage. Through education, research, and collaboration, the Aga Khan Museum Museum Khan Aga the collaboration, and research, education, Through heritage. exquisite decoration, this star-shaped star-shaped this decoration, exquisite Ivory, wood, and metal in a wooden frame wooden a in metal and wood, Ivory, (Book of Kings) of Shah Isma’il Isma’il Shah of Kings) of (Book library and also an accomplished accomplished an also and library size, the materials used and the the and used materials the size, Egypt, 1470s Egypt, Shahnameh Shahnameh dispersed a from Folio Beg, the future director of the royal royal the of director future the Beg, appreciation of the contribution that Muslim civilisations have made to world world to made have civilisations Muslim that contribution the of appreciation Sultan Qaitbay (r. -
Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art
MASTERPIECES from the Department of Islamic Art in The Metropolitan Museum of Art EDITED BY Maryam D. Ekhtiar, Priscilla P. Soucek, Sheila R. Canby, and Navina Najat Haidar The Metropolitan Museum of Art, New York Distributed by Yale University Press, New Haven and London This catalogue is published in conjunction with the reopening of the Galleries for Copyright © 2011 by The Metropolitan Museum of Art, New York the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia on November 1, 2011. First printing, 2011 This publication is made possible through the generous support of Sharmin and All rights reserved. No part of this publication may be reproduced or transmitted in Bijan Mossavar-Rahmani. any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in Published by The Metropolitan Museum of Art, New York writing from the publishers. Mark Polizzotti, Publisher and Editor in Chief Gwen Roginsky, Associate Publisher and General Manager of Publications The Metropolitan Museum of Art Peter Antony, Chief Production Manager 1000 Fifth Avenue Michael Sittenfeld, Managing Editor New York, New York 10028 Robert Weisberg, Assistant Managing Editor metmuseum.org Edited by Cynthia Clark and Margaret Donovan Distributed by Designed by Bruce Campbell Yale University Press, New Haven and London Bibliography by Penny Jones yalebooks.com/art Production by Jennifer Van Dalsen yalebooks.co.uk Map by Anandaroop Roy Floor plans by Brian Cha -
Geometrical and Floral Motifs in Indian Islamic Paintings
GEOMETRICAL AND FLORAL MOTIFS IN INDIAN ISLAMIC PAINTINGS ABSTRACT OF THE ^y THESIS SUBMITTED FOR THE AWARD OF THE DEGREE Of Boctor of pt)tlQ£(op{ip FINE ARTS \ *^ BY FARAH KHAN Under the Supervision of DR. TALAT SHAKEEL DEPARTMENT OF FINE ARTS ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2009 31 MAR 2011 ABSTRACT Decorative motif is a special branch of fine arts which has great aesthetic expression power. Different decorative motifs were used in different times as per personal whims of artists and the prevailing conditions. They have many elements like geometric patterns, floral motifs or simple patterns of Islamic art. But geometric patterns dominate because of their meaningful expression and outward beauty. Icons and motifs reveal sensuous, formal or stylistic values of metaphysics, religion and existing spiritual experiences. These motifs and forms are very popular in paintings of Islamic period and are developed considerably well by Muslim artists. This does not mean that their works were based on religious themes. These paintings displayed muslim cultures and were subject to rules and spirit of Islam. Here we are discussing the bases of Islamic art because Islam stands for peace and visualizes truth in an easy and balancing form in life. It encourages spread of culture and art within bounds of decency and morality. In the early days of Islam there were no figures or picture in mosques, schools and residential houses and this type of arts was not encouraged. However the passage of time and growth of cultural integration led to use of decorated wall paintings and portraits of natural scenes and illumination of manuscripts and textiles. -
Macfest Brochure 2021
MACFEST MUSLIM ARTs AND CULTURE FESTIVAL CELEBRATING ARTS AND CONNECTING COMMUNITIES OVER 70 EVENTS JANUARY - JUNE 2021 WWW.MACFEST.ORG.UK [email protected] @MACFESTUK FESTIVAL HIGHLIGHTS 19TH CENTURY THE BLACK KEYNOTE ADDRESS FRENCH CONVERTS QUEENS OF ISLAM BY AKBAR S AHMED TO ISLAM FAMOUS PERSIAN CUISINE WRITERS: MUSICAL FINALE AND CULTURE IBN RUSHD AZERBAIJAN ARAB HERITAGE FESTIVAL FESTIVAL WELCOME TO MACFEST 2021! MACFEST MUSLIM ARTs AND CULTURE FESTIVAL Welcome to MACFEST 2021, a groundbreaking and John Rylands Libraries, Whitworth Art Gallery, and award-winning Muslim Arts and Culture Manchester Museum, Manchester Science and Festival in the North West. This year we have Industry Museum, Elizabeth Gaskell’s House, gone global! Khizra Mosque, the British Muslim Heritage Centre and Stretford Public Hall. Our mission: celebrating arts, diversity and connecting communities. We are proud to offer We are delighted to partner with Huddersfield you a rich feast of over 70 events from January Literature Festival, Manchester Science to June 2021 across Greater Manchester, Festival, Bury BAME project, Bolton Sunnyside celebrating the rich heritage of the Muslim Club, Glasgow Active Life Club, Manchester diaspora communities. As a national festival Muslim Writers and Trafford/Stockport College we are delighted to have MACFEST hosted in Partnership Group, hosting events and mini Manchester, Bolton, Bury, Oldham, Stockport, festivals. Rochdale, Huddersfield, Glasgow and Liverpool in the UK. We are equally delighted to host various schools and colleges from the North West of England, We are also delighted to offer you an who are celebrating MACFEST Days, with arts international feast, with events hosted from and cultural activities. -
Materials and Techniques of Islamic Manuscripts Penley Knipe1, Katherine Eremin1*, Marc Walton2, Agnese Babini2 and Georgina Rayner1
Knipe et al. Herit Sci (2018) 6:55 https://doi.org/10.1186/s40494-018-0217-y RESEARCH ARTICLE Open Access Materials and techniques of Islamic manuscripts Penley Knipe1, Katherine Eremin1*, Marc Walton2, Agnese Babini2 and Georgina Rayner1 Abstract Over 50 works on paper from Egypt, Iraq, Iran and Central Asia dated from the 13th to 19th centuries were examined and analyzed at the Straus Center for Conservation and Technical Studies. Forty-six of these were detached folios, some of which had been removed from the same dispersed manuscript. Paintings and illuminations from fve intact manuscripts were also examined and analyzed, although not all of the individual works were included. The study was undertaken to better understand the materials and techniques used to create paintings and illuminations from the Islamic World, with particular attention paid to the diversity of greens, blues and yellows present. The research aimed to determine the full range of colorants, the extent of pigment mixing and the various preparatory drawing materials. The issue of binding materials was also addressed, albeit in a preliminary way. Keywords: Islamic manuscript, Islamic painting, XRF, Raman, FTIR, Imaging, Hyperspectral imaging Introduction project have been assigned to a particular town or region An ongoing interdisciplinary study at the Harvard Art and/or are well dated. Examination of folios from a single Museums is investigating the materials and techniques manuscript, including those now detached and dispersed used to embellish folios1 from Islamic manuscripts and as well as those still bound as a volume, enabled investi- albums created from the 13th through the 19th centuries. -
STEPHENNIE Mulder EDUCATION June 2008 Ph.D., History of Art
Stephennie Mulder Associate professor Department of Art and Art History | department of middle eastern studies The university of texas at austin email: [email protected] EDUCATION June 2008 Ph.D., History of Art, University of Pennsylvania Islamic Art and Architecture Dissertation Title: “The Architecture of Coexistence: Sunnis, Shi’is, and the Shrines of the ‘Alids in the Medieval Levant” June 2001 M.A., Near Eastern Studies, Princeton University Thesis Title: “ConceptualizinG Islamic ArchaeoloGy: The Case of Medieval Molded Ceramics” June 1997 B.A., Anthropology, Middle East Studies minor, University of Utah PROFESSIONAL APPOINTMENTS 2015-present Associate Professor of Art History Department of Art and Art History – Department of Middle Eastern Studies, The University of Texas at Austin Affiliation: Center for Middle Eastern Studies 2008-2015 Assistant Professor of Art History Department of Art and Art History – Department of Middle Eastern Studies, The University of Texas at Austin Affiliation: Center for Middle Eastern Studies 2000-2010 Archaeological Ceramicist Princeton University/Syrian Department of Antiquities Excavations at Balis, Syria SCHOLARLY PUBLICATIONS Books and Edited Volumes The Shrines of the ‘Alids in Medieval Syria: Sunnis, Shi’is, and the Architecture of Coexistence. (EdinburGh: EdinburGh University Press, 2014; 320 pp). “ImaGininG Localities of Antiquity in Islamic Societies,” Guest editor for special issue, International Journal of Islamic Architecture 6:2 (June 2017). 1 Books in Progress Ceramics of Balis. A two-volume analytical study of ceramic material from Princeton University’s excavations at medieval Balis, Syria, includinG separate studies on two little- known cateGories: molded ceramics and Umayyad (early Islamic) ceramics. The study will publish four to five analytical chapters and nearly 1,000 drawinGs and photoGraphs from my research at medieval Balis, and will be amonG the first major studies of Islamic unGlazed ceramics. -
Persian," “Islamic," And
Instabilities in the Identity of an Artistic Tradition as "Persian," “Islamic," and “Iranian” in the Shadow of Orientalism A Dissertation Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Faculty of Arts and Sciences Trent University Peterborough, Canada © Copyright by Nooshin Aghayan 2019 Cultural Studies Ph.D. Graduate Program May 2019 Abstract Instabilities in the Identity of an Artistic Tradition as "Persian," “Islamic," and “Iranian” in the Shadow of Orientalism Nooshin Aghayan This dissertation is a critical review of the discursive formation of Islamic art in the twentieth century and the continuing problems that the early categorization of this discipline carries. It deals with the impact of these problems on the conceptualization of another category, Persian art. The subject is expounded by three propositions. First, the category of Islamic art was initially a product of Orientalism formulated regardless of the indigenous/Islamic knowledge of art. Second, during the early period when art historians examined different theoretical dimensions for constructing an aesthetic of Islamic art in the West, they imposed a temporal framework on Islamic art in which excluded the non-traditional and contemporary art of Islamic countries. Third, after the Islamic Revolution in 1979, Iranian scholars eventually imposed academic authority over the discipline of Persian/Islamic art, they adopted the same inadequate methodologies that were initially used in some of the early studies on the art of the Muslims. These propositions are elaborated by examples from twentieth-century Iranian movements in painting, The Coffeehouse Painting and The School of Saqqakhaneh, and the incident of swapping Willem de Kooning‟s painting Woman III with the dismembered manuscript of the Shahnama of Shah Tahmasp in 1994. -
Und Die Zukunft? Trèves: Universitätsbibliothek, 1990
Ouvrages et articles: AALUNG, Flemming. Vernacular Tradition and the Islamic Architecture of Bosra. Copenhague: Tutein & Koch, 1991. AALUNG, Flemming; MEINECKE, Michael; AL-MUQDAD, Riyadh S. Islamic Bosra. Damas: German Archaeological Institute, 1990. 'ABBÂS MUHAMMAD SALÎM, Muhammad; OTAVSKY, Karel. Mittelalterliche Textilien I. Ägypten, Persien und Mesopotamien Spanien und Nordafrika. Riggisberg: Abegg-Stiftung, 1995. 'ABD AL-RAWAB, 'Abd al-Rahman Mahmud; ORY, Solange. Stèles islamiques de la nécropole d'Assouan III. Le Caire: Institut Français d'Archéologie Orientale du Caire, 1986. 'ABD AR-RÂZIQ, Ahmad. Le sgraffito de l'Egypte mamluke dans la collection d'Al-Sabah. Annales Islamologiques, 1988, vol. XXVI. pp. 1-32. 'ABD AR-RÂZIQ, Ahmad. Les gouverneurs d'Alexandrie au temps des Mamlûks. Annales Islamologiques, 1982, vol. XVIII. pp. 123-169. 'ABD AR-RÂZIQ, Ahmad. Le vizirat et les vizirs d'Égypte au temps des Mamlûks. Annales Islamologiques, 1980, vol. XVI. pp. 183-239. 'ABD AR-RÂZIQ, Ahmad. Un collège féminin dans l'Égypte Mamluke. Journal of Faculty of Archaeology, 1978. pp. 15-69. 'ABD AR-RÂZIQ, Ahmad. Les muhtasibs de Fostât au temps des Mamelûks. Annales Islamologiques, 1978, vol. XIV. pp. 127-146. 1 'ABD AR-RÂZIQ, Ahmad. Un Mausolée féminin dans l'Egypte Mamluke. Journal of Faculty of Archaeology, Cairo University, 1977, vol. Vol. II. pp. 3-21. 'ABD AR-RÂZIQ, Ahmad. La femme au temps des mamlouks en Égypte. Le Caire: Institut Français d'Archéologie Orientale, 1973. 'ABD AR-RÂZIQ, Ahmad. La poterie glaçée de l'époque Mamlouke d'après les collections égyptiennes. Paris: École Pratique des Hautes Études, 1971. 'ABD AR-RÂZIQ, Ahmad. Trois fragments de céramique lustrée à représentations humaines. -
Strange Animals and Creatures in Islamic Miniatures: Focusing on Miniatures of the Conference of the Birds
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 4, September 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ DOI: 10.7596/taksad.v6i4.1121 Citation: Rohani, N. (2017). Strange Animals and Creatures in Islamic Miniatures: Focusing on Miniatures of the Conference of the Birds. Journal of History Culture and Art Research, 6(4), 112-126. doi:http://dx.doi.org/10.7596/taksad.v6i4.1121 Strange Animals and Creatures in Islamic Miniatures: Focusing on Miniatures of the Conference of the Birds Neda Rohani1 Abstract Strange animals and creatures have always existed in every mythological culture. In Iran's pre-Islamic and post-Islamic miniatures and reliefs, there are many strange animals and creatures such as dragons and phoenix which were associated with the Iranian culture and civilization. Because of presence of these strange creatures, particularly human life, these creatures are first used in mythological life and then symbolically to express human ideas. However, these animals were present in both mythology and epics and, later in the Islamic era, in the mystical stories, educational stories and admonishing anecdotes like Sanai, Attar, and Rumi. This study tends to investigate genealogy of strange animals and creatures in ancient Iranian reliefs and their continued presence in miniatures of Islamic era as well as presence of these creatures in miniatures which are based on Attar’s Conference of the Birds. In fact, this study reviews elements and symbolic concepts of animals, allowing a deeper understanding of function of elements and symbolism in works of Iranian miniaturists. -
Gruber CV July 2021
Christiane Jacqueline Gruber Professor and Chair History of Art Department, University of Michigan, Ann Arbor E-mail: [email protected] https://sites.lsa.umich.edu/christianegruber/ Education University of Pennsylvania, Philadelphia, PA (Sept. 1998-August 2005): Ph.D., Islamic Art History, Department of the History of Art. Dissertation: “The Prophet Muhammad’s Ascension (Mi‘raj) in Islamic Art and Literature, 1300-1600.” Advisor: Dr. Renata Holod. University of Pennsylvania, Philadelphia, PA (Dec. 2001): M.A., Islamic Architecture, “The Missiri of Fréjus as a Healing Memorial: The French Military and its Islamic Architecture (1928-1964).” Princeton University, Princeton, NJ (Sept. 1994- May 1998): B.A. magna cum laude, Department of Art and Archaeology, minors in French and Italian Languages & Literatures. Employment 2019- present: Professor & Chair, History of Art, University of Michigan 2018-2019: Professor & Associate Chair, History of Art, University of Michigan 2011-2018: Associate Professor, History of Art, University of Michigan Spring 2013: Visiting Professor (Directeur d’Etudes), Sorbonne University, Paris Spring 2012: Arnheim Professor, Institute of Art History, Humboldt University, Berlin 2005-2011: Assistant Professor, Department of Art History, Indiana University, Bloomington. Also Assistant Professor, International Studies; Adjunct Professor, Near Eastern Languages and Cultures; and Adjunct Professor, Central Eurasian Studies. Fellowships and Grants (selected) Grant, The Andrew Mellon Foundation, administered by UM’s Digital Islamic Studies Curriculum, to support Khamseen: Islamic Art History Online (Founding Director). Senior Short-Term Fellowship, Research Center for Anatolian Civilizations, Koç University, Istanbul, November and December 2017. John Simon Guggenheim Fellowship, AY 2015-16. Institute for the Humanities, University of Michigan, faculty fellowship, AY 2015-16. -
Studies in Islamic Civilization: the Muslim Contribution to the Renaissance
STUDIES Cover_Layout 1 03/08/2012 14:22 Page 1 IIIT Books-In-Brief Series is a valuable collection of the Institute’s key publications written in condensed form to STUDIES IN ISLAMIC CIVILIZATION give readers a core understanding of the main contents of the original. the MUSLIM CONTRIBUTION Studies in Islamic Civilization draws upon the works of Western scholars to make the case that without the tremendous contribution of the Muslim world there would have been no Renaissance in Europe. For to the Renaissance almost a thousand years Islam was arguably one of the leading civiliza - tions of the world spanning a geographic area greater than any other. It eliminated social distinctions between classes and races, made clear that people should enjoy the bounties of the earth provided they did not ignore morals and ethics, and rescued knowledge that would have been lost, if not forever, then at least for centuries. The genius of its scholars triggered the intellectual tradition of Europe and for over seven hundred years its language, Arabic, was the international language of science. Strange then that its legacy lies largely ignored and buried in time. Studies in Islamic Civilization is a compelling attempt to redress this wrong and restore the historical truths of a “golden age” that ush - ered in the Islamic renaissance, and as a by-product that of the West. John Esposito, University Professor & Director of the Prince Alwaleed Bin Talal Center for Muslim-Christian Understanding, Georgetown University, USA Studies in Islamic Civilization is a must-read for scholars, students and non-specialists alike, demonstrating the world class civilization created by Muslims and its forgotten and long-overlooked contributions to Western civilization.