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This unique book by traces the history and development of Islamic-inspired architecture in the U.S. from the earliest Spanish-Moorish buildings constructed in the 1700s to the more contemporary buildings of the 21st century. With more than 100 original color photographs of buildings from across America, Domes, Arches and Minarets discusses the origins, influences and inspiration that has created this very distinctive and rich part of the American cityscape.
Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. Drawing on buildings, archaeological reports, medieval histories, geographies, and early Arabic poetry, he reinterprets the origin, development, and meanings of the minaret and provides a sweeping historical and geographical tour of the minaret's position as the symbol of Islam.
Europeans are in denial. Against a backdrop of Islamophobia, they are increasingly distancing themselves from their cultural debt to the Muslim world. But while the legacy of Islam and the Middle East is in danger of being airbrushed out of Western history, its traces can still be detected in some of Europe's most recognisable monuments, from Notre-Dame to St Paul's Cathedral. In this comprehensively illustrated book, Diana Darke sets out to redress the balance, revealing the Arab and Islamic roots of Europe's architectural heritage. She tracks the transmission of key innovations from the great capitals of Islam's early empires, Damascus and Baghdad, via Muslim Spain and Sicily into Europe. Medieval crusaders, pilgrims and merchants from Europe later encountered Arab Muslim culture in journeys to the Holy Land. In more recent centuries, that same route through modern-day Turkey connected Ottoman culture with the West, leading Sir Christopher Wren himself to believe that Gothic architecture should more rightly be called 'the Saracen style', because of its Islamic origins. Recovering this overlooked story within the West's long history of borrowing from the Islamic world, Darke sheds new light on Europe's buildings and offers rich insights into the possibilities of cultural exchange.
Auth : University of London.
Laurelie Rae's splendid drawings of the interior and exterior of the monuments and the inspirational text accompanying them with a focus on historical, cultural and architectural elements will transport you to the ancient land of the Seljuks and the Ottomans.
For architecture or history students or interested travellers, presents descriptions, histories, photographs, plans, and drawings of detail for buildings erected in the Egyptian capital from the earliest Islamic through the Ottoman periods. References to the Survey Map of the Islamic Monuments of Cairo aid readers in finding the buildings. A reprint of the 1989 publication. No index. Annotation copyrighted by Book News, Inc., Portland, OR
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.
I Am Because We Are features 125 black-and-white photographs by Betty Press taken all over East and West Africa since 1987, combined with related African proverbs compiled by Annetta Miller, an American born in Tanzania. The book highlights the importance of proverbs in educating members of African societies on how to think, how to behave, and how to have a better life. Press took these photographs with the goal of making a significant educational and artistic contribution to the appreciation and understanding of African culture and society as well as our own. The photographs of daily life deal with knowledge, cooperation, love, beauty, friendship, hope, humor, sorrow, happiness, gratitude, dance, tradition, faith, peace, war, death, and human relationships. These are the same themes found in African proverbial language. Thus came the natural idea of coupling images with proverbs. Together they offer a powerful expression of African life and the universality of human emotions, ideas, and knowledge.
Before the Mughal style came to dominate the Islamic architecture of the Indian sub-continent, Bengal and its rulers had developed their own forms. The mosque architecture of the Independent Sultanate period (from the 14th to the 16th centuries) represents the most important element of the Islamic architecture of Bengal. This distinctive regional style drew its inspiration from the indigenous vernacular architecture of Bengal, itself heavily influenced by Hindu/Buddhist temple architecture. The early Muslim architecture of Bangladesh is an important but little studied part of the architectural heritage of the Islamic world and the Indian sub-continent. Perween Hasan's work is a most original contribution to this subject.