DOCSLIB.ORG

Discovering Islamic Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Discovering Islamic Art Discovering Islamic Art Mary Beardwood Discovering Islamic Art Mary Beardwood Published by Medina Publishing Ltd 310 Ewell Road Surbiton Surrey KT6 7AL United Kingdom www.medinapublishing.com © Mary Beardwood 2015 ISBN 978-1-909339-04-0 CIP Data: A catalogue record for this book is available from the British Library. Researcher and editorial advisor: Shaha Parpia Designed by Kitty Carruthers Artwork by Paul Watson Map: Martin Lubikowski Printed and bound by: Emirates Printing Press, Dubai All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Introduction Beautiful buildings, elegant writing, bright patterns and designs using flowers and plants. These are some of the images that come to mind when we look at Islamic art. But what is special about Islamic art? When we talk about art that comes from just one region of the world, such as Chinese art, we have a clear idea of the style used. But the unique style of Islamic art comes from many countries. It refers to the arts of all Islamic cultures. In this book we are going to see some of the treasures of Islam and find out about the craftsmen who made them. Geometric patterns, arabesques and calligraphy are found on buildings, clothes, books, household objects and even armour. You will see them on every page of this book and discover why they are used. We look at the importance of books, where the wisdom of scientific knowledge and inventions is recorded and shared. We see how detailed illustrations bring a world of fables and imagination to life. If you are ready to step into this fascinating world, read on . Acknowledgements Firstly, I would like to thank Shaha Parpia for all her hard work, researching information and advising on the content of Discovering Islamic Art. Without Shaha’s enthusiasm for this book from the outset and her constant support, it wouldn’t have got off the ground. Thanks also to Paul Watson, who designed the graphics throughout the book, for his creativity and positive suggestions, submitting to many changes of direction with unlimited good humour. Thanks also go to the following people: the Trustees of the Nasser D Khallili Collection, the trustees of the David Collection, Copenhagen. David Wade, Pattern in Islamic Art, and Saudi Aramco World who were all very generous with permission to use their photos and advice on captioning. Also thanks to the Tareq Rajab Museum, Kuwait; Helen P Betts; Dick Ossemon; Patrick Halpin, David Salzberger for their photographic contributions. Many people have given advice and the benefit of their knowledge, in particular Dr Melanie Gibson, SOAS, Professor Salim Al-Hassani, Chairman of the Foundation of Science, Technology and Civilization, Rafiq Abdulla, who accompanied me to the British Library and shared his knowledge of miniature paintings of birds. My thanks also go to the team at Medina Publishing; to Kitty Carruthers who saw the potential for this book and advised on the layout and content of the spreads with insight and flair, and Peter Harrigan for bringing his long experience of the Arab world to this title. Last, but not least, love and thanks to my husband, Mike, for having our holiday destinations chosen on the grounds I wanted to see Islamic Art over the last few years. Also for his attention to the detailed information needing to be filed and patience with the long hours I devoted to ‘the Book Project’. Thank you all. 4 5 About the Author Mary Beardwood spent many years teaching in Arabia, and in 2000 published A Children’s Encyclopaedia of Arabia (later reprinted as The Illustrated Encyclopaedia of Arabia). During this time she became fascinated by Islamic Art and in 2005 took a study course at the British Museum while building up her own library of works on the subject. In recent years, collections of Islamic Art have been the subject of much renewed interest, and refurbished galleries have opened at the Metropolitan Museum in New York, the Victoria and Albert in London, the Louvre in Paris and the David Collection in Copenhagen. In addition, wonderful new Islamic Art museums have opened in the countries of the Arabian Gulf, reflecting the desire to preserve their heritage. Mary has visited these collections, and noted how little there was in the bookshops to help children engage with the subject and for parents to extend the experience of a museum visit. Drawing on her experience of teaching, and studying Islamic Art, Mary has developed a simple, yet comprehensive overview of the important strands of the subject and the wide area, geographically and historically, that were connected by the Islamic Empire. By adding art activities and weblinks she has made it relevant to today’s children. Consultant Shaha Parpia is an Islamic art historian based in Singapore. She has a Masters in the History of Islamic Art from SOAS, University of London, and is currently doing her doctoral studies at the University of Adelaide, Australia. 4 5 Contents GEOMETRIC PATTERNS 8 Beautiful Maths 10 ARABESQUES 12 Twists and Twirls 14 CALLIGRAPHY 16 Stylish Writing 18 DECORATING THE MOSQUE 1 20 DECORATING THE MOSQUE 2 22 Cityscape 24 Mosque Quizzes 26 DYNASTIES AND THE ART OF WAR 28 Warriors and armour 30 MAP OF THE DYNASTIES OF THE ISLAMIC WORLD 32 A ROYAL PALACE FOR A RULER 34 Shahs and Emperors 36 A Storybook Queen 37 ART TREASURES OF THE PALACES 38 Working with Stars 40 ISLAMIC GARDENS 42 Paradise on Earth 44 THE ART OF ILLUSTRATION – Perfect Painting 46 Perfect Painting 48 Superheroes and Villains 50 Storybook Pages 52 THE ART OF WRITING – Calligraphy 54 Hands on with Writing 56 THE SPREAD OF KNOWLEDGE 58 ANIMALS IN ART 60 A Jumbo Clock 62 Answers to quizzes 64 Glossary 67 Photo credits 68 Geometric Patterns hen you enter the door of an Islamic building you find a beautiful world inside. Geometric patterns in a huge variety of shapes and colours are put together so cleverly that they become works of art. They can be in wood, metal, stone or on tiling. Every part of the building is given attention and decorated. Muslims had access to advanced mathematics and they loved the order and precision of geometry. Although it looks difficult, geometric shapes can be made using just a simple compass and ruler. The technique called zillij is used to make complex patterns on wall tiles. Zillij is an Arabic word which means ‘mosaic’. The tiling above is from Morocco. The pattern is known as ‘step and shoulder’. Pieces of ceramic tile are The pattern on the left, of a cut and fitted together in a repeating sixteen pointed star, is also made pattern of shapes, leaving no spaces. from small ceramic pieces which This is called tessellation. have been cut from larger tiles. When all the pieces are cut out These designs are from the Alhambra palace in Spain. they are arranged face-down on the floor, like putting together a jig-saw puzzle. A type of cement is poured over the back which hardens up so the tiles can be lifted onto a wall for fixing. A band of calligraphy is usually assembled above the star pattern. Workers putting pieces of ceramic tile into zillij patterns. 8 9 Decorating a building with geometric tiles It was an enormous task deciding how patterns would be placed in a mosque, palace or other important building. Scrolls of paper were used by architects giving details of the patterns to be used. This scroll is ‘the Topkapi scroll’ It is kept at the Topkapi Palace in Istanbul, the centre of the Ottoman Empire, (1281-1923) but it was not originally from that region. It dates from the Timurid and Turkman dynasties which ruled in the 15th century. The scroll shows us how architects designed patterns to decorate the walls of Islamic buildings with tiles. The two and three dimensional geometric drawings served as a pattern book for the craftsmen putting the tiles on the wall. The scroll is 29.5 metres long and has 114 individual geometric patterns. Circles are the starting place for many designs. Overlapping circles firstly make a petal pattern. Many different geometric shapes can made by joining different points on the circles. Inspiration for modern artists from Islamic designs The Dutch artist M C Escher visited the Alhambra palace in Spain in 1936 and was inspired by the geometric patterns there. In his sketch book he drew the zillij patterns but then he used his own imagination to tessellate shapes using many different plants, sea creatures, animals and birds. To download geometric patterns go to www.davidmus.dk/islamicart Click on Mostly for kids 8 9 Beautiful Maths Circles are the starting point for many geometric shapes. In the top pattern on the right, five overlapping circles are used to make a flower with four petals. By joining different points on the circles you can see an eight-pointed star shape emerging in the middle pattern, which has been coloured in yellow, and finally decorated with a geometric pattern. In the bottom pattern seven circles have been drawn which make a flower with five petals. 1. By joining the dots at the tips of each petal a hexagon is made. In these diagrams you can see how, by joining the dots in different ways, 2. An equilateral many more triangle inside the shapes appear. hexagon Try drawing some shapes inside these circles by Two equilateral triangles and a joining the rectangle inside the hexagon dots.
Load more

Recommended publications
  • In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
    In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being.
    [Show full text]
  • Tour Guides in Agra & Fatehpur Sikri
    Tour Guides In Agra & Fatehpur Sikri DISCOVER INDIA PROGRAM 2017-18 Certificate This is to certify that the work incorporated in the report titled “Tour Guides in Agra and Fatehpur Sikri” submitted by the undersigned research team was carried out under my supervision. Such material as has been obtained from other sources has been duly acknowledged. Sr. No. Name Designation Signature 1 Aditya Jha Visual Documentation 2 Advait Makhija Group Leader and On-field Research 3 Amalina Sengupta Accounts and On-field Research 4 Aman N Shah Accounts and On-field Research 5 Anish Jayaraman Content Writing 6 Deepta Iyer Logistics and On-field Research 7 Enasha Thakker Creativity 8 Hardika Zaveri Creativity 9 Maitreyi Menon Content Writing 10 Manasi Pant Content Writing 11 Sharvari Karandikar Content Writing 12 Shreya Negandhi Creativity 13 Tamanna Rajabali Creativity and Visual Documentation 14 Vishwambhar Vaidyam Visual Documentation Name of the Mentor: Dr. Juhi Sidharth Signature: Date: ii Table of Contents Sr. No. Particulars Page no. 1 1.0. Introduction 1 1.1. Geographical Location 1.1.1. Location 1.1.2. Climate 1.2. Economy and Education 1.3. Historical Overview 1.3.1. History of The Region 1.4. Research Statement 1.5. Research Aims and Objectives 1.6. Research Methodology 1.7. Limitations 2 2.1. Literature Review: Evaluation of Secondary Sources 11 2.1.1. Roles of a Tour Guide 2.1.2. Types of Tour Guides 2.1.3. Training 2.1.4. Conduct 2.1.5. Challenges to The Guides and The Industry 2.1.6. Gender 2.1.7.
    [Show full text]
  • Past and Present
    2nd Scandinavian Symposium on Furniture Technology & Design Marquetry Past and Present May 2007 Vadstena Sweden Cover photo: Detail of ‘Scarab table’ by Rasmus Malbert. Photo taken by © Rasmus Malbert. This publication was made possible thanks to Carl Malmstens Hantverksstiftelse Editor Ulf Brunne Director of Studies Carl Malmsten Furniture Studies Linköping University Tel. +46 (0) 13 28 23 20 e-mail: [email protected] Layout Elise Andersson Furniture Conservator Tel. +31 (0) 686 15 27 06 / +46 (0) 704 68 04 97 e-mail: [email protected] Foreword The Marquetry Symposium in Vadstena 2007 was all over the world. The presentations covered a the second international symposium hosted by Carl multitude of aspects and were well inline with our Malmsten Centre of Wood Technology & Design ambition to include both historical, theoretical, at Linköping University. Since then we not only technical and design related aspects. changed our name, we also moved to new purpose- Even if the symposium, as intended, covered both built premises and above all, updated our programs historical and modern applications we conclude in order to meet future challenges. Carl Malmsten that presentations of contemporary works and Furniture Studies, which is our new name, is techniques were in minority. It is therefore with great satisfaction we during the past few years have Marquetry has since ancient times been used to registered a growing interest not only in traditional decoratedefinitely furniture back on track! and interiors. Starting with basic marquetry but also in the use of marquetry on but intricate geometric patterns in the Middle Ages, industrially manufactured design furniture.
    [Show full text]
  • Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
    Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1].
    [Show full text]
  • Gallery Guide Marx-Lambert Collection Compton Verney
    Gallery Guide Marx-Lambert Collection Compton Verney Please return to the gallery after use 1 Marx-Lambert Collection Gallery Guide Marx-Lambert Collection Compton Verney The Marx-Lambert Collection Gallery Guide and re-display was Written and compiled by made possible by funding from: Dr Steven Parissien, Director and Penelope Sexton, Curator The DCMS/Wolfson Museums and Galleries Improvement Fund Compton Verney and With support from The Estate of Enid Marx Gallery guide: Designed by Anne Odling-Smee and Ana Gomes, O-SB Design, London Marx-Lambert Galleries: Curated by Penelope Sexton, Compton Verney Designed by O-SB Design, London and Jeremy Akerman All works by Enid Marx © The Estate of Enid Marx Photographs by Harminder Judge All other works © Compton Verney Photographs by Harminder Judge Photograph of Enid Marx © University of Brighton Design Archives Introduction 7 Biography 8 Collection Introduction 9 Cooking Utensils and Decorative Containers 10 Eating and Drinking 14 Furniture 28 Ornaments 32 Pictures 42 Textiles 48 Toys and Miscellanea 52 Introduction Enid Crystal Dorothy Marx (1902–1998) was one of the brightest stars to emerge from the Design School of London’s Royal College of Art (RCA) during the interwar years. Her generation at the RCA – an outstanding cohort which artist and RCA tutor Paul Nash (1889–1946) subsequently hymned as ‘an outbreak of talent’ – included her close friends Eric Ravilious (1903–1942) and Edward Bawden (1903–1989), as well as future giants of British painting such as John Piper (1902–1992). Marx’s own artistic talents were prodigious: she excelled as a textile designer, an author, designer and illustrator of children’s books, a printmaker and a painter.
    [Show full text]
  • Antique Italian Pietra Dura Brass & Alabaster Comport Dish
    anticSwiss 26/09/2021 14:08:10 http://www.anticswiss.com Antique Italian Pietra Dura Brass & Alabaster Comport Dish FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:8cm Width:29cm Depth:29cm Price:700€ DETAILED DESCRIPTION: This is a superb quality antique Italian Pietra Dura mounted, gilt brass and alabaster table-centre comport dish, dating from the late 19th Century. With striking pierced Neo-Gothic chased brass mounts this splendid alabaster dish is set with six highly decorative pietra dura roundels depicting various floral decoration. It is raised on a sturdy circular brass base. It is a sumptuous piece which will make a great statement in any special room. Condition: In really excellent condition, please see photos for confirmation. Dimensions in cm: Height 8 x Width 29 x Depth 29 Dimensions in inches: Height 3.1 x Width 11.4 x Depth 11.4 Pietra dura is a term for the inlay technique of using cut and fitted, highly polished coloured stones to create images. It is considered a decorative art. Pietre dure is an Italian plural meaning "hard rocks" or hardstones; the singular pietra dura is also encountered in Italian. In Italian, but not in English, the term embraces all gem engraving and hardstone carving, which is the artistic carving of three-dimensional objects in semi-precious stone, normally from a single piece, for example in Chinese jade. The traditional convention in English has been to use the singular pietra dura just to denote multi-colored inlay work. However, in recent years there has been a trend to use pietre dure as a term for the same thing, but not for all of the techniques it covers, in Italian.
    [Show full text]
  • Aesthetics of the Qur'anic Epigraphy on the Taj Mahal
    Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer B.A. Philosophy & Middle Eastern Studies Claremont McKenna College, 2012 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2017 ©2017 Rio Fischer. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 25, 2017 Certified by: __________________________________________________________ James Wescoat Aga Khan Professor Thesis Supervisor Accepted by:__________________________________________________________ Sheila Kennedy Professor of Architecture Chair, Department Committee on Graduate Students Committee: James Wescoat, PhD Aga Khan Professor Thesis Supervisor Nasser Rabbat, MArch, PhD Aga Khan Professor Thesis Reader 3 Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer Submitted to the Department of Architecture on May 25, 2017 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT This thesis examines the Qur’anic epigraphic program of the Taj Mahal. Following the 1989 Begley & Desai book Taj Mahal: an Illustrated Tomb, the flourish of scholarship that would expectedly follow a complete epigraphical catalog never arrived. Despite being well-known and universally cherished as indicated by the Taj Mahal’s recognition as a UNESCO world heritage monument and as one of the New 7 Wonders of the World, there is insufficient research directed towards the inscription program specifically.
    [Show full text]
  • Illustration of the Life of Shah Jahan Entering (?) His Palace in Burhanpur
    Auctionneer : Millon.com December 2nd 2019, lot 366 Illustration of the life of Shah Jahan entering (?) his palace in Burhanpur. Previously unseen painting probably intended to the Windsor Padshahnamah. Signed 'Abid, brother of Nadir al-Zaman al-Mashhadi Dated the 3rd reign year of Shah Jahan, located in Burhanpur India, Mughal art, 1630-31 On the reverse, poetic quatrain signed by the calligrapher 'Imad al-Hassani Mounted on an album page from the St Petersbourg album Page: 47.5 x 32.3 cm Painting: 30.1 x 20 cm Calligraphy panel: 32.9 x 17.8cm Provenance By inheritance, Antoine Kitabgi Khan (1843-1902), senior officer of the Qajar Empire. Inscriptions Recto: dar balda-i burhanpur bi-itmam rasid sana 3 It was completed in the city of Burhanpur, (regnal) year 3. ‘amal-i ghulam-i tamam ikhlas ‘abid baradar-i nadir al-zaman al-mashhadi Work of the completely sincere slave, ‘Abid, the brother of Nadir al-Zaman al-Mashhadi. shah jahani Of Shah Jahan abu’l-muzaffar shahab al-din muhammad sahib qiran-i thani shah jahan Abu’l-Muzaffar Shahab al-Din Muhammad, second Lord of the auspicious convergence (of Jupiter and Venus), Shah Jahan verso : Quatrain poem, roba’i, signed « by the humble and poor ‘Emad al-Hassani, that his sins and faults be forgiven». The Historical Context Shah Jahan ascends the throne of the Mughal Empire in 1628, after his father Jahangir and following a violent rivalry with his brothers. His reign is marked by the continuation of the military conquests initiated by his predecessors, and more especially the annexation of the Rajput kingdoms, followed, a few years later, by the conquest of the Deccan.
    [Show full text]
  • ISSUE 2505 | Antiquestradegazette.Com | 21 August 2021 | UK £4.99 | USA $7.95 | Europe €5.50
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide:https://atg.news/2zaGmwp 7 1 -2 0 2 1 9 1 ISSUE 2505 | antiquestradegazette.com | 21 August 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50years D koopman rare art V A I R N T antiques trade G T H E KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY 12 Dover Street, W1S 4LL [email protected] | www.koopman.art | +44 (0)20 7242 7624 Wales joins contest for Dyer archive by Roland Arkell The National Library of Wales was among the successful bidders when an archive relating to the poet and painter John Dyer (1699-1757) emerged for sale in Yorkshire this month. Today John Dyer is little known, but in the 18th and 19th centuries he was feted as a pioneer of Romanticism. William Wordsworth himself penned a sonnet to the ‘Bard of the Fleece’ – a reference to Dyer’s four-book genre poem The Fleece that championed the noble pastime of tending sheep in the British landscape. Poet, painter, parson Above: a 17th century ebony and pietra Much of what is known of Dyer’s life comes dura table casket – £60,000 at Claydon from the book Poet, Painter and Parson, the life Auctioneers on August 4. of John Dyer written by Ralph M Williams and published in 1956. Born and raised in Carmarthenshire (the family home was Aberglasney in Llangathen), he was Bids tabled for £60,000 educated at Westminster, apprenticed to the London portrait painter Jonathan Richardson and from 1724-26 continued his Prague pietra dura casket studies in Italy.
    [Show full text]
  • Dictionary of Islamic Architecture
    DICTIONARY OF ISLAMIC ARCHITECTURE DICTIONARY OF ISLAMIC ARCHITECTURE Andrew Petersen London and New York First published 1996 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 First published in paperback 1999 © 1996 Andrew Petersen All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0-415-06084-2 (hbk) ISBN 0-415-21332-0 (pbk) ISBN 0-203-20387-9 Master e-book ISBN ISBN 0-203-20390-9 (Glassbook Format) Contents Preface vii Acknowledgements ix Entries 1 Appendix The Mediterranean World showing principal historic cities and sites 320 The Middle East and Central Asia showing principal historic cities and sites 321 Dedication This book is dedicated to my friend Jamie Cameron (1962–95) historian of James V of Scotland. Preface In one of the quarters of the city is the Muhammadan town, where the Muslims have their cathedral, mosque, hospice and bazar. They have also a qadi and a shaykh, for in every one of the cities of China there must always be a shaykh al- Islam, to whom all matters concerning Muslims are referred.
    [Show full text]
  • Component-I (A) – Personal Details
    Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. Ravi Korisettar, Emeritus Professor Karnatak University, Dharwad. Dr. Sutapa Sinha Dept. of IHC, University of Calcutta. Prof. Ravi Korisettar Karnatak University, Dharwad. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Art and Architecture of India Module Name / Title The Mughal to Late Mughal Style (1628-1858) Module Id IC / SCHI / 15 Pre requisites Objectives It aims to understand . The Mughal style reached its zenith during the reign of Shah Jahan (1628-58) He beautified the capital cities of Agra and Delhi with splendid palaces and magnificent monuments Numerous elegant buildings at Ajmer, Lahore, Srinagar and other places The Late Mughal style is also called Shah Jahan’s style after him This is an age of marble buildings Keywords Mughal / Shah Jahan / Ajmer / Lohare / Srinagar / Jami Masjid / Taj Mahal E-text (Quadrant-I) : 1. The Late Mughal Style 1628-1858 The Mughal style reached its zenith during the reign of Shah Jahan (1628-1858) who was a great builder. He beautified the capital cities of Agra and Delhi with splendid palaces and magnificent monuments and also created numerous elegant buildings at Ajmer, Lahore, Srinagar and other places. Consequently, the Late Mughal style is also called Shah Jahan’s style after him. The transition from the forceful and robust early Mughal style of Akbar to that of pretty and elegant Late Mughal style of Shah Jahan is as sudden as it is obvious. Shah Jahan’s is an age of marble buildings. With the change of building material, the technique of surface decoration took the form of artistic inlay of semi-precious and multi-coloured stones in marble, representing petals and curving tendrils of conventional flowers.
    [Show full text]
  • Rise of Eclecticism in the 21St Century Malaysian Mosque Architecture
    PLANNING MALAYSIA: Journal of the Malaysian Institute of Planners VOLUME 15 ISSUE 1 (2017), Page 295 - 304 RISE OF ECLECTICISM IN THE 21ST CENTURY MALAYSIAN MOSQUE ARCHITECTURE Amir Hossein Zekrgoo1 1 Kulliyyah of Architecture & Environmental Design INTERNATIONAL ISLAMIC UNIVERSITY MALAYSIA Abstract A stylistic survey of Malaysian mosque architecture shows four distinct trends: 1) Traditional style, which covers most of the mosques that were built before the country’s independence in 1957; 2) Colonial style that was influenced by Indian Mughal architecture, was followed partly after independence, and continued for a while after that; 3) Modern trend began with the National Mosque completed in 1965, and scattered mosques that were built after the National Mosque until the end of the 20th century; and 4) Mosques that were erected in the 21st century, which can be generally explained by the term ‘eclectic’ design. Eclecticism gained rapid momentum in the field of Malaysian mosque architecture since the dawn of the current century. Significant eclectic mosques that have transformed the scene and skylines of major Malaysian cities have often been heavily financed by the government – an indication of conscious choice of direction. This paper aims at providing a categorisation of the process of evolution of contemporary mosque architecture in Malaysia, not based on independent stylistic tendencies, but under three major historical/thematic phases: 1) Independence and Departure from Tradition; 2) Middle Eastern Inspirations; and 3) Rise of eclecticism, with an emphasis on the last phase, i.e. rise of eclecticism in the 21st century. Masjid Wilayah, completed in August 2000, was chosen as a case study because it is the first major eclectic mosque born in the 21st century, incorporating some six established styles, and also the most comprehensive example.
    [Show full text]