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In history, this grand arterial 1500-mile waterway was always seen as the natural frontier between the northern provinces of the Iranian empires and the outer Turanian lands. It was for centuries central to Achaemenid and later Persian power. But, as the author shows, it has a prehistory which goes very much further back: and a succession of skilled yet still elusive Bronze Age cultures flourished here well before the rise of Cyrus the Great in the 6th century BCE. This richly illustrated book explores the fascinating history, art and archaeology of the region, including its primal trade in silk and foodstuffs; the mineral wealth of the Oxus basin; its exotic myths and beliefs; and the converging tribes and peoples which led to a new stability, economic growth and urbanism. The volume contains 150 full-colour photographs of notable artefacts, including silver decorated vessels, inlaid stone pots, agate beads and 25 'Bactrian Princesses': remarkable statuettes made in chlorite and limestone. Most of these rare objects have never been seen, let alone published, before.
This catalogue of the Coptic Textiles in the Collection of Mediterranean Antiquities at the Montreal Museum of Fine Arts provides a detailed analysis of 64 textiles from both historical and weaving practice points of view. This approach provides a fuller understanding of the cultural situation in which such textiles were produced and circulated. Dr. Landry’s experience of over 40 years of weaving and scholarship highlights the elements of knowledge and skill held and applied by weavers in Antiquity. This perspective complements and expands on the focus on imagery usually provided by art historians regarding textiles of this period. This catalogue shows how much more cultural information can be accessed when the technical, economic, and practical character of both production and use are adequately integrated into the study of material artefacts.
The present volume offers a collection of essays that examines the mechanisms and strategies of collecting, displaying and appropriating Islamic art in the nineteenth and early twentieth centuries. Many studies in this book concentrate on lesser known collections of Islamic art, situated in Central and Eastern Europe that until now have received little attention from scholars. Special attention is given to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of Islamic art is now preserved in the Bernisches Historisches Museum, Switzerland. Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait. Les contributions de l’ouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et l’appropriation des arts de l’Islam au XIXe siècle et début du XXe siècle. Elles mettent l’accent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusqu’à présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourd’hui au Bernisches Historisches Museum (Suisse) et qui ont été de même peu étudiés. Les textes émanent de jeunes chercheurs comme de chercheurs confirmés, basés en Europe occidentale et orientale, et au-delà.
This volume, the second in the series of Marie-Thérèse d’Alverny’s selected articles to be published by Variorum, gathers the majority of her studies on the understanding of Islam in the West from the early Middle Ages until the mid-13th century; some related works will be included in a further selection. In the 12th century, as she shows, a serious effort was for the first time made to learn something of the reality behind the fabulous and scurrilous stories about Muhammad and Islam. A collection of translations from Arabic, including the Koran, was commissioned in 1140 by Peter the Venerable of Cluny, and d’Alverny found the manuscript in which his secretary wrote these out. This discovery led her to explore other translations into Latin of the Koran and other Islamic texts, to identify the work of the translators Hermann of Carinthia, Robert of Ketton and Mark of Toledo, and to depict the milieu in which this work was possible.
Rising from humble origins as Turkish tribesmen, the powerful and culturally prolific Seljuqs—an empire whose reach extended from Central Asia to the eastern Mediterranean—dominated the Islamic world from the eleventh to the fourteenth century. Court and Cosmos: The Great Age of the Seljuqs examines the roots and impact of this formidable dynasty, featuring some 250 objects as evidence of the artistic and cultural flowering that occurred under Seljuq rule. Beginning with an historical overview of the empire, from its early advances into Iran and northern Iraq to the spread of its dominion into Anatolia and northern Syria, Court and Cosmos illuminates the splendor of Seljuq court life. This aura of luxury extended to a sophisticated new elite, as both sultans and city dwellers acquired dazzling glazed ceramics and metalwork lavishly inlaid with silver, copper, and gold. Advances in science and technology found parallels in a flourishing interest in the arts of the book, underscoring the importance the Seljuqs placed on the scholarly and literary life. At the same time, the unrest that accompanied warfare between the Seljuqs and their enemies as well as natural disasters and unexplainable celestial phenomena led people to seek solace in magic and astrology, which found expression in objects adorned with zodiacal and talismanic imagery. These popular beliefs existed alongside devout adherence to Islam, as exemplified by exquisitely calligraphed Qur’ans and an array of building inscriptions and tombstones bearing verses from the holy book. The great age of the Seljuqs was one that celebrated magnificence, be it of this world or in the celestial realm. By revealing the full breadth of their artistic achievement, Court and Cosmos provides an invaluable record of the Seljuqs’ contribution to the cultural heritage of the Islamic world.
This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.