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Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.
The Orientalism debate, inspired by the work of Edward Said, has been a major source of cross-disciplinary controversy. This work offers a re-evaluation of this vast literature of Orientalism by a historian of imperalism, giving it a historical perspective
This volume aims to show through various case studies how the interrelations between Jews, Muslims and Christians in Iberia were negotiated in the field of images, objects and architecture during the Later Middle Ages and Early Modernity. . By looking at the ways pre-modern Iberians envisioned diversity, we can reconstruct several stories, frequently interwoven with devotional literature, poetry or Inquisitorial trials, and usually quite different from a binary story of simple opposition. The book’s point of departure narrates the relationship between images and conversions, analysing the mechanisms of hybridity, and proposing a new explanation for the representation of otherness as the complex outcome of a negotiation involving integration. Contributors are: Cristelle Baskins, Giuseppe Capriotti, Ivana Čapeta Rakić, Borja Franco Llopis, Francisco de Asís García García, Yonatan Glazer-Eytan, Nicola Jennings, Fernando Marías, Elena Paulino Montero, Maria Portmann, Juan Carlos Ruiz Souza, Amadeo Serra Desfilis, Maria Vittoria Spissu, Laura Stagno, Antonio Urquízar-Herrera.
This book traces the history of conflict and contact between Muslims, Christians, and Jews in the Ottoman Middle East prior to 1914.
Focuses on issues of assimilation, translation and misunderstanding as art objects moved between cultures, either literally or imaginatively, and considers how visual culture expresses the increasing contact between Europe and the rest of the world in this era.
This book gathers together a number of leading design historians whose research points the way forward, aiming to address and promote changes to design history.
Published in conjunction with an exhibition held at The Metropolitan Museum of Art, New York, Sept. 16, 2013-Jan. 5, 2014.
In 1455 John Howard was an untitled and relatively obscure Suffolk gentleman. Thirty years later, at the time of his death at the Battle of Bosworth Field, he was Earl Marshal, Duke of Norfolk, Lord Admiral and a very rich man (and his direct descendant is Duke of Norfolk today). How had Howard attained these elevations? Through his service to the House of York, and in particular to King Richard III during the setting aside of Edward V. John Ashdown-Hill examines why Howard chose to support Richard, even ultimately at the cost of his life; what secrets he knew about Edward IV; what he had to do with the fate of the 'Princes in the Tower;' and what naval innovations, hitherto ascrided to the Tudors, he promoted. Based on original research and containing previously unpublished material, Richard III's 'Beloved Cousyn' is an important contribution to Ricardian scholarship.
Union in Separation presents a series of case studies on diasporic groups in the late medieval and early modern Mediterranean and Black Sea regions. It explores how Armenian, Byzantine/Greek, Florentine, Genoese, Hospitaller, Jewish, Mamluk, and Venetian communities characterized by diasporic identities and inserted into local contexts navigated religious and socio-ethnic boundaries as well as other categories of difference. The volume draws on a wide range of historical and social-scientific methods and offers new perspectives on the arbitration of difference in the wider eastern Mediterranean from Tana to Cairo and Marseille to Isfahan prior to the emergence of nation states. It provides not only an analytical toolbox for historical diaspora studies but also reveals how, under the looming threat of crusade and within the daily routines of trade, diasporic groups and their hosts negotiated modes of coexistence that oscillated between cooperation and conflict, integration and rejection, union and separation.