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Among its Continental peers, Austria has stood out for its longstanding state recognition of the Muslim community as early as 1912. A shift has occurred more recently, however, as populist far-right voices within the Austrian government have redirected public discourse and put into question Islam’s previously accepted autonomous status within the country. Politicizing Islam in Austria examines this anti-Muslim swerve in Austrian politics through a comprehensive analysis of government policies and regulations, as well as party and public discourses. In their innovative study, Hafez and Heinisch show how the far-right Austrian Freedom Party (FPÖ) adapted anti-Muslim discourse to their political purposes and how that discourse was then appropriated by the conservative center-right Austrian People’s Party (ÖVP). This reconfiguration of the political landscape prepared the way for a right-wing coalition government between conservatives and far-right actors that would subsequently institutionalize anti-Muslim political demands and change the shape of the civic conditions and public perceptions of Islam and the Muslim community in the republic.
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)
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 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).
Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms. Enthusiastically imported from its Near Eastern sources by European artists, the freely flowing line known as arabesque is a recognizable motif across the arts of painting, music, dance, and literature. From the German Romantics to the Art Nouveau artists, and from Debussy’s compositions to the serpentine choreographies of Loïe Fuller, the chapters in this volume bring together cross-disciplinary perspectives to understand the arabesque across both art historical and musicological discourses.
Zirkulation und Nachahmung haben einen wesentlichen Einfluss auf die Gestaltung der materiellen Welt. Die Beiträge des Bandes untersuchen, wie technisches Wissen, immaterielle Wünsche und politische Agenden die Produktion und Rezeption der visuellen und materiellen Kultur im Wandel der Zeit und Orte prägten. Sie gehen den Wanderungen von Kulturgütern unter besonderer Berücksichtigung ihrer Entstehungskontexte nach. Mit dem Begriff des „rhapsodischen Objektes" werden dabei die vielschichtigen, nicht immer in einem Zusammenhang stehenden Erzählungen der Objekte angesprochen.
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.
This volume is a collection of research essays submitted by fellows of the Annemarie Schimmel Kolleg, an Advanced Center of Research in Mamluk Studies. It covers three themes, which correspond to the research agenda of the final three academic years of the Annemarie Schimmel Kolleg. These were: environmental history, material culture studies, and im/mobility. The aim of the contributions is to overcome the disciplinary boundaries of the field and to engage in scholarly debates in Ottoman Studies, European history, archae-ology and art history, and even the natural sciences.
The commodification of Islamic antiques intensified in the late Ottoman Empire, an age of domestic reform and increased European interference following the Tanzimat (reorganisation) of 1839. Mercedes Volait examines the social life of typical objects moving from Cairo and Damascus to Paris, London, and beyond, uncovers the range of agencies and subjectivities involved in the trade of architectural salvage and historic handicraft, and traces impacts on private interiors, through creative reuse and Revival design, in Egypt, Europe and America. By devoting attention to both local and global engagements with Middle Eastern tangible heritage, the present volume invites to look anew at Orientalism in art and interior design, the canon of Islamic architecture and the translocation of historic works of art.
This book constitutes a seminal contribution to the fields of Islamic architectural history and gender studies. It is the first major empirical study of the history and current state of mosque building in Senegal and the first study of mosque space from a gender perspective.