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Whether destined for a sultan's palace or provincial household, a vast array of functional and often luxurious metal vessels and utensils have been produced throughout the Islamic world. Although not primarily religious objects, they were traditionally made with the same skill and imagination, and their designs and decoration reflect the strong cultural influence of Islam which extended from Spain and North Africa in the west to Central Asia and the Indian subcontinent in the east.
The material and visual culture of the Islamic World casts vast arcs through space and time, and encompasses a huge range of artefacts and monuments from the minute to the grandiose, from ceramic pots to the great mosques. Here, Venetia Porter and Mariam Rosser-Owen assemble leading experts in the field to examine both the objects themselves and the ways in which they reflect their historical, cultural and economic contexts. With a focus on metalwork, this volume includes an important new study of Mosul metalwork and presents recent discoveries in the fields of Fatimid, Mamluk and Qajar metalwork. By examining architecture, ceramics, ivories and textiles, seventeenth-century Iranian painting and contemporary art, the book explores a wide range of artistic production and historical periods from the Umayyad caliphate to the modern Middle East. This rich and detailed volume makes a significant contribution to the fields of Art History, Architecture and Islamic Studies, bringing new objects to light, and shedding new light on old objects.
The material and visual culture of the Islamic World casts vast arcs through space and time, and encompasses a huge range of artefacts and monuments from the minute to the grandiose, from ceramic pots to the great mosques. Here, Venetia Porter and Mariam Rosser-Owen assemble leading experts in the field to examine both the objects themselves and the ways in which they reflect their historical, cultural and economic contexts. With a focus on metalwork, this volume includes an important new study of Mosul metalwork and presents recent discoveries in the fields of Fatimid, Mamluk and Qajar metalwork. By examining architecture, ceramics, ivories and textiles, seventeenth-century Iranian painting and contemporary art, the book explores a wide range of artistic production and historical periods from the Umayyad caliphate to the modern Middle East. This rich and detailed volume makes a significant contribution to the fields of Art History, Architecture and Islamic Studies, bringing new objects to light, and shedding new light on old objects.
The Aron Collection of Islamic Metalwork has been built over many years of research. The present catalogue, which follows the first one curated by James W. Allan in 1986, illustrates a selection of objects from the collection. It studies the main regional schools that flourished in this expression of Islamic art, in particular in the areas of Iran and Central Asia, through specimens representing the breadth of their production. The items date mainly to the Medieval era, between the 9th and the 14th centuries, but include later works too. A journey to discover an extremely technical and complex art, sometimes a real exercise in virtuosity, and one that is ultimately fascinating and sophisticated. Islamic metalwork has been deeply admired for centuries also in the Western world, providing a source of inspiration. The different shapes, uses and manufactures of the pieces in the collection offer a good overview of the main artistic streams in the metalworking art and open a window on the luxuries of the princely courts as well as on the everyday life of parts of Muslim society. They offer up a largely unknown vision of Islam.
The city of Nishapur, located in eastern Iran, was a place of political importance in medieval times and a flourishing center of art, crafts, and trade. This publication explores metalwork found at the site at Nishapur excavated by the Iranian Expedition of the Metropolitan Museum in 1935–40 and again in 1947. -- Metropolitan Museum of Art website.
The Nuhad Es-Said Collection of Islamic metalwork is one of the finest in private hands. It contains examples of inlaid bronzes and brasses from 6th/12th and 7th/13th Herat and 7th/13th century Mosul, from Ayvubid Syria, Saljuk Anatolia, the Mamluk empire and the Dehli sultanate, and from Il-Khanid, Timurid and Safavid Iran. Inlaid with gold, silver and copper, and bearing planetary and astrological figures, mystical symbols, and effusive dedications to sultans and petty rulers, these objects take the reader into a world where superstition, religion and politics jostle for supremacy, and are evidence that works of art reflect the societies they serve.
The Nuhad Es-Said Collection of Islamic metalwork is one of the finest in private hands. It contains examples of inlaid bronzes and brasses from 6th/12th and 7th/13th Herat and 7th/13th century Mosul, from Ayvubid Syria, Saljuk Anatolia, the Mamluk empire and the Dehli sultanate, and from Il-Khanid, Timurid and Safavid Iran. Inlaid with gold, silver and copper, and bearing planetary and astrological figures, mystical symbols, and effusive dedications to sultans and petty rulers, these objects take the reader into a world where superstition, religion and politics jostle for supremacy, and are evidence that works of art reflect the societies they serve. An extensive introduction puts the collection in its social and artistic context. This is followed by the catalogue which describes and discusses each piece in detail. Every object is illustrated with at least one color plate and there are numerous black and white photographs. In this revised edition the author has updated all important aspects of the text; he has also added a table of analyses with a short commentary at the end of the book.
The catalogue begins with five informative introductory essays in which James Allan discusses Islamic metalwork produced in the Mediterranean area and in the Medieval Yemen, the history of incense burners in the Islamic Near East, the continuing use of classical libation vessels in Islamic culture and finally the complex question of Venetian-Saracenic metalwork. With over fifty drawings of comparative pieces, this book makes an important contribution to the study of Islamic metalwork.
The presence of gold, silver, and other metals is a hallmark of decorated manuscripts, the very characteristic that makes them “illuminated.” Medieval artists often used metal pigment and leaf to depict metal objects both real and imagined, such as chalices, crosses, tableware, and even idols; the luminosity of these representations contrasted pointedly with the surrounding paints, enriching the page and dazzling the viewer. To elucidate this key artistic tradition, this volume represents the first in-depth scholarly assessment of the depiction of precious-metal objects in manuscripts and the media used to conjure them. From Paris to the Abbasid caliphate, and from Ethiopia to Bruges, the case studies gathered here forge novel approaches to the materiality and pictoriality of illumination. In exploring the semiotic, material, iconographic, and technical dimensions of these manuscripts, the authors reveal the canny ways in which painters generated metallic presence on the page. Illuminating Metalwork is a landmark contribution to the study of the medieval book and its visual and embodied reception, and is poised to be a staple of research in art history and manuscript studies, accessible to undergraduates and specialists alike.