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ENGLISH VERSION. The Louvre’s collection shows the wealth and diversity of artistic creation in the Islamic world. In 2012, this collection, one of the richest and most beautiful in the world, was shown for the first time in the department’s new rooms, designed by the architects Rudy Ricciotti and Mario Bellini. This project was the most ambitious undertaken since the creation of the Grand Louvre. On two levels of the museum, these new spaces now enable a comprehensive deployment of artworks spanning the 1,300-year history of lands spread over three continents, from Spain to northern India. To mark the department’s reopening, this album offers an overview through the masterworks of the collection. In coedition with musée du Louvre.
A sumptuous exploration of the ways in which the Islamic arts have inspired the famous jewelry house Cartier, this book accompanies a major exhibition at the Musée des Arts Decoratifs, Paris, and the Dallas Museum of Art. Louis Cartier (1875–1942), the grandson of Cartier founder Louis-François, was an impassioned collector and patron of the arts. He was particularly entranced by Islamic arts, especially Persian book arts: their geometric shapes, color combinations, and motifs are apparent in Cartier jewelry to this day. Louis’s younger brother Jacques—an expert in precious stones—traveled to India and the Persian Gulf in 1911 and 1912 to experience the culture and bring home treasures of the Middle East: natural pearls. This was the pivotal moment when the dialogue between these two worlds opened up, eventually blossoming into a beautiful relationship that has lasted for decades. Published to accompany a major exhibition at the Musée des Arts Decoratifs in Paris and the Dallas Museum of Art, Cartier and Islamic Arts delves into the Cartier archives to trace the story of Louis Cartier’s love of Islamic art and the ways in which he incorporated the Islamic world’s stylized motifs into Cartier’s jewelry. Dazzling photographs are accompanied by in-depth texts from a raft of distinguished scholars of both Islam and the decorative arts.
This book explores the great diversity and range of Islamic culture through one of the finest collections in the world. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterworks created in the rich tradition of the Islamic faith and culture. The Metropolitan's renowned holdings range chronologically from the origins of Islam in the 7th century through the 19th century, and geographically from as far west as Spain to as far east as Southeast Asia.
In Sustainable History and Human Dignity, Professor Nayef Al-Rodhan shows that it is the human quest for sustainable governance, balancing the ever-present tension between nine human dignity needs and three human nature attributes (emotionality, amorality & egoism), that has and will most profoundly shape the course of history. Beginning with an ‘Ocean Model’ of a single collective human civilisation, Al-Rodhan constructs a common human story comprised of multiple geo-cultural domains and sub-cultures with a history of mutual borrowing and synergies. If humanity as a whole is to flourish, all of these diverse geo-cultural domains must succeed. Only thus can lasting peace and prosperity be achieved for all, especially in the face of ‘Civilisational Frontier Risks’ and highly disruptive technologies in the twenty-first century.
This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art. The essays have a relevance and importance for our understanding of the societies and attitudes of that time, and have a direct bearing on the more general debate concerning cultural identity and the integration of modern ideas in the Muslim world. The book is richly illustrated with very many illustrations in black-and-white and in full colour.
A bold, readable, and beautifully illustrated introduction to Islamic art and architecture, this renowned book is now available in an updated and revised edition featuring color illustrations throughout. Including over a thousand years of history and stretching from the Atlantic to the borders of India and China, Islamic Art and Architecture is an unparalleled narrative of the arts of Islamic civilization. From the death of the Prophet Muhammad to 1900, Islamic art expert Robert Hillenbrand traces the evolution of an extraordinary range of art forms, including architecture, calligraphy, book illumination, painting, ceramics, glassware, textiles, and metalwork. This new edition includes a chapter examining art produced from 1700 to 1900, an understudied period in the area, exploring how these centuries saw incredible creativity across the Islamic world. Featuring full-color illustrations of masterpieces of Islamic art and architecture, from seventh-century Arabia via Moorish Spain to modern Iran, this book shows the far-reaching stylistic developments that have shaped Islamic art. Including maps, an updated glossary, and suggested further reading, this authoritative and accessible volume sheds light on the recurrent preoccupations and themes that have shaped the arts of Islam since the seventh century.
Presents a region-by-region history of the art of the Islamic world, looking at architecture, the art of the book, mosaics, pottery, textiles, and other decorative art forms.
The vast Deccan plateau of south-central India stretches from the Arabian Sea to the Bay of Bengal. In the sixteenth and seventeenth centuries, the region was home to several major Muslim kingdoms and became a nexus of international trade — most notably in diamonds and textiles, through which the sultanates attained remarkable wealth. The opulent art of the Deccan courts, invigorated by cultural connections to the Middle East, Africa, and Europe, developed an otherworldly character distinct from that of the contemporary Mughal north: in painting, a poetic lyricism and audacious use of color; in the decorative arts, lively creations of inlaid metalware and painted and dyed textiles; and in architecture, a somber grandeur still visible today in breathtaking monuments throughout the plateau. The first book to fully explore the history and legacy of these kingdoms, Sultans of Deccan India elucidates the predominant themes in Deccani art—the region’s diverse spiritual traditions, its exchanges with the outside world, and the powerful styles of expression that evolved under court patronage—with fresh insights and new scholarship. Alongside the discussion of the art, lively, engaging essays by some of the field’s leading scholars offer perspectives on the cycles of victory and conquest as dynasties competed with one another, vied with Vijayanagara, a great empire to the south, and finally succumbed to the Mughals from the north. Featuring some 200 of the finest works from the Deccan sultanates, as well as spectacular site photographs and informative maps, this magnificently illustrated catalogue provides the most comprehensive examination of this world to date and constitutes a pioneering resource for specialists and general readers alike.