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Long before GPS, Google Earth, and global transit, humans traveled vast distances using only environmental clues and simple instruments. John Huth asks what is lost when modern technology substitutes for our innate capacity to find our way. Encyclopedic in breadth, weaving together astronomy, meteorology, oceanography, and ethnography, The Lost Art of Finding Our Way puts us in the shoes, ships, and sleds of early navigators for whom paying close attention to the environment around them was, quite literally, a matter of life and death. Haunted by the fate of two young kayakers lost in a fog bank off Nantucket, Huth shows us how to navigate using natural phenomena—the way the Vikings used the sunstone to detect polarization of sunlight, and Arab traders learned to sail into the wind, and Pacific Islanders used underwater lightning and “read” waves to guide their explorations. Huth reminds us that we are all navigators capable of learning techniques ranging from the simplest to the most sophisticated skills of direction-finding. Even today, careful observation of the sun and moon, tides and ocean currents, weather and atmospheric effects can be all we need to find our way. Lavishly illustrated with nearly 200 specially prepared drawings, Huth’s compelling account of the cultures of navigation will engross readers in a narrative that is part scientific treatise, part personal travelogue, and part vivid re-creation of navigational history. Seeing through the eyes of past voyagers, we bring our own world into sharper view.
A portrait of the Arab enlightenment and its key figures, Ibn Sina and Biruni. In The Genius of Their Age, S. Frederick Starr brings to vibrant life an age when Muslim scientists and philosophers from Central Asia anticipated the Western renaissance of science by half a millennium.
Knowledge and Education in Classical Islam: Religious Learning between Continuity and Change is a pioneering collection of essays on the historical developments, ideals, and practices of Islamic learning and teaching in the formative and classical periods of Islam (i.e., from the seventh to fifteenth centuries CE). Based on innovative and philologically sound primary source research, and utilizing the most recent methodological tools, this two volume set sheds new light on the challenges and opportunities that arise from a deep engagement with classical Islamic concepts of knowledge, its production and acquisition, and, of course, learning. Learning is especially important because of its relevance to contemporary communities and societies in our increasingly multicultural, “global” civilizations, whether Eastern or Western. Contributors: Hosn Abboud, Sara Abdel-Latif, Asma Afsaruddin, Shatha Almutawa, Nuha Alshaar, Jessica Andruss, Mustafa Banister, Enrico Boccaccini, Sonja Brentjes, Michael Carter, Hans Daiber, Yoones Dehghani Farsani, Yassir El Jamouhi, Nadja Germann, Antonella Ghersetti, Sebastian Günther, Mohsen Haredy, Angelika Hartmann, Paul L. Heck, Asma Hilali, Agnes Imhof, Jamal Juda, Wadad Kadi, Mehmet Kalayci, Alexey Khismatulin, Todd Lawson, Mariana Malinova, Ulrika Mårtensson, Christian Mauder, Jane Dammen McAuliffe, Maryam Moazzen, Angelika Neuwirth, Jana Newiger, Luca Patrizi, Lutz Richter-Bernburg, Ali Rida Rizek, Mohammed Rustom, Jens Scheiner, Gregor Schoeler, Steffen Stelzer, Barbara Stowasser, Jacqueline Sublet, and Martin Tamcke.
"In this sweeping and richly illustrated history, S. Frederick Starr tells the fascinating but largely unknown story of Central Asia's medieval enlightenment through the eventful lives and astonishing accomplishments of its greatest minds--remarkable figures who built a bridge to the modern world. Because nearly all of these figures wrote in Arabic, they were long assumed to have been Arabs. In fact, they were from Central Asia--drawn from the Persianate and Turkic peoples of a region that today extends from Kazakhstan southward through Afghanistan, and from the easternmost province of Iran through Xinjiang, China. Lost Enlightenment recounts how, between the years 800 and 1200, Central Asia led the world in trade and economic development, the size and sophistication of its cities, the refinement of its arts, and, above all, in the advancement of knowledge in many fields. Central Asians achieved signal breakthroughs in astronomy, mathematics, geology, medicine, chemistry, music, social science, philosophy, and theology, among other subjects.
To scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India's centuries of splendor has been lacking. The Art of Ancient India is the result of the author's aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: –Not since Coomaraswamyês History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art _ from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all encompassing view of the art. An outstanding portrayal of ancient Indiaês highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.