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Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.
Converso and Morisco are the terms applied to those Jews and Muslims who converted to Christianity (mostly under duress) in late medieval Spain. "Converso and Moriscos Studies" examines the manifold cultural implications of these mass convertions.
Mudejarismo and Moorish Revival in Europe offers a critical examination of the reception of Ibero-Islamic architecture in medieval Iberia and 19th-century Europe. Taking selected case studies as a starting point, the volume challenges prevalent readings of interconnected cultural and artistic phenomena.
The first part of this work includes all the known works of the twelfth-century Andalusi author Ibn Quzmān, most of which are zajal poems composed in the colloquial dialect of Andalus. They have been edited in a Romanized transliteration, and are accompanied by a facing-page English prose translation, along with notes and commentaries intended to elucidate matters relevant to each poem. In the second part of the work, sixteen chapters are devoted to analyzing specific poems from a literary perspective, in order to delve into their meaning and, thereby, explain the poet’s literary goals.
This volume, dedicated to Jaroslav Stetkevych, includes a number of original contributions that signify a rhetorical shift in the social sciences and Arabic studies. The articles and essays deal with Orientalism, classical Arabic tradition, Andalusian poetry, Francophone literature, translation, architecture and poetry, comparative studies, and Sufism. Literary production is studied in its own terms to situate these literary concerns in the mainstream of cultural studies. The outcome is a solid and highly sophisticated scholarship that makes this book one of the most needed among scholars and students of comparative literature, Arabic poetics and politics, Orientalism, Afro-Asian studies, East/West encounters and translation.
The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)
In the Western imagination, Spain often evokes the colorful culture of al-Andalus, the Iberian region once ruled by Muslims. Tourist brochures inviting visitors to sunny and romantic Andalusia, home of the ingenious gardens and intricate arabesques of Granada's Alhambra Palace, are not the first texts to trade on Spain's relationship to its Moorish past. Despite the fall of Granada to the Catholic Monarchs in 1492 and the subsequent repression of Islam in Spain, Moorish civilization continued to influence both the reality and the perception of the Christian nation that emerged in place of al-Andalus. In Exotic Nation, Barbara Fuchs explores the paradoxes in the cultural construction of Spain in relation to its Moorish heritage through an analysis of Spanish literature, costume, language, architecture, and chivalric practices. Between 1492 and the expulsion of the Moriscos (Muslims forcibly converted to Christianity) in 1609, Spain attempted to come to terms with its own Moorishness by simultaneously repressing Muslim subjects and appropriating their rich cultural heritage. Fuchs examines the explicit romanticization of the Moors in Spanish literature—often referred to as "literary maurophilia"—and the complex, often silent presence of Moorish forms in Spanish material culture. The extensive hybridization of Iberian culture suggests that the sympathetic depiction of Moors in the literature of the period does not trade in exoticism but instead reminded Spaniards of the place of Moors and their descendants within Spain. Meanwhile, observers from outside Spain recognized its cultural debt to al-Andalus, often deliberately casting Spain as the exotic racial other of Europe.
This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today. Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism. Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions. Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context. Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); María Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Rémi Labrusse (Université Paris Ouest Nanterre la Défense); Gülru Necipoğlu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaroğlu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J. Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence).