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Mamluk Art: The Splendour and Magic of the Sultans tells the story of almost three centuries of political security and economic stability achieved by the sultans' successful defence against Mongol and Crusader threats. The intellectual, scientific and artistic currents that flourished then are manifest in Mamluk architecture and decorative arts, almost modern in their elegant and lively simplicity, bearing witness to the vitality of Mamluk trade, to their cultural exuberance and to their military and religious strength. Eight itineraries invite you to discover 51 museums, monuments and sites in Cairo, Alexandria and the Nile Delta.
Based on the conference "The Arts of the Mamluks in Egypt and Syria" held at SOAS in 2009.
The reign of the Mamluks marked a breathtaking flowering of Islamic art. Mamluk control of trade across much of the Middle East supported the artistic output that made Cairo, in the words of Ibn Khaldun, "the center of the universe and the garden of the world". This book shows off the majestic domes, courtyards, and soaring minarets that won Cairo its high praise. 170 color photos.
This is a detailed study of the illustrations to Amir Khusrau's Khamsah, in which twenty discourses are followed by a brief parable, and four romances. Amir Khusrau (1253-1325) lived the greater part of adventurous life in Delhi; he composed in Persian, and also in Hindi. From the point of view of manuscript illustration, his most important work is his Khamsah (Quintet'). Khusrau's position as a link between cultures of Persia and India means that the early illustrated copies of the Khamsah have a particular interest. The first extant exemplar is from the Persian area in the late 14th century, but a case can be made that work was probably illustrated earlier in India.
This study of the Citadel of Cairo reconstructs its architectural history within the urban context of Cairo and the wider framework of Ayyubid and Mamluk institutions, polity, society, and tastes and proposes new interpretations of the most significant elements in Mamluk royal architecture.
The colourful story of the Mamluk dynasty – marked with treachery, carnage and destructive behaviour – is a significant chapter in the history of the Near East.
"Muqarnas" is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. "Muqarnas" 26 contains articles on a variety of topics that span and transcend the geographic and temporal boundaries that have traditionally defined the history of Islamic art and architecture. Contributors include Robert McChesney, Mattia Guidetti, Marcus Schadl, Christian Gruber, Katia Cytryn-Silverman, Doris Abouseif, Olga Bush, Emine Fetvaci, Moya Carey, Bernard O'Kane, Hadi Maktabi, Nadia Erzini and Stephen Vernoit.
Islamic Visual Culture, 1100-1800 is the second in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art 650-1100; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The focus of the present volume is on the key centuries - the eleventh through fourteenth - during which the main directions of traditional Islamic art were created and developed and for which classical approaches of the History of Art were adopted. Manuscript illustrations and the arts of objects dominate the selection of articles, but there are also forays into later times like Mughal India and into definitions of area and period styles, as with the Mamluks in Egypt and the Ottomans, or into parallels between Islamic and Christian medieval arts.