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The Nasser D. Khalili Collection contains a remarkable group of more than 600 finger rings from the Islamic world and beyond. These rings provide a rare opportunity to survey the history of this form in the Middle East and southern Asia over the last two millennia, for the oldest examples are two Hellenistic glass rings from athe second or first century BC, while the most recent dated specimen is a signet made in India in 1920. This wealth of evidence has allowed the author to present a typology of Islamic rings within a broad chronological framework, and the colour illustrations standard to the series have been supplemented by several drawings of each ring.
The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art.
Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.
Covering the entire spectrum of Arabic manuscripts, and especially the handwritten book, this book consists of a glossary of technical terms and a bibliography. The technical terms, collected from a variety of sources, embrace a vast range of topics dealing with the making and reading (studying) of Arabic manuscripts. They include: the Arabic scripts, penmanship, writing materials and implements, the make-up of the codex, copying and correction, decoration and bookbinding. A similar coverage is reflected in the bibliography. In view of the fact that, as yet, there is no concise monograph on Arabic manuscripts in the English language, this book is an important contribution to this field. And, since Arabic manuscripts represent an enormous resource for research, this work is an indispensable reference for all students of Islamic civilization.
Islam today is a truly global faith, yet it remains somewhat of an enigma to many of us. Each and every day our newspapers are saturated with references to Islam; Quran, Taliban, Hijab, Fatwa, Allah, Sunni, Jihad, Shia, the list goes on. But how much do we really understand? Are we, in fact, misunderstanding? The Penguin Dictionary of Islam provides complete, impartial answers. It includes extensive coverage of the historical formations of the worldwide Muslim community and highlights key modern Muslim figures and events. Understanding Islam is vital to understanding our world and this text is the definitive authority, designed for both general and academic readers.
This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.
The Collection provides an unrivalled resource for the study of Islamic jewellery, with nearly 600 catalogued pieces in gold, silver and copper alloys, of all periods from the 7th to the 20th centuries and from throughout the Islamic world Spain to Malaysia, and Africa to the Eurasian steppes. Various sectors of production and clienteles are represented, from the court to bespoke jewellery to the urban marketplace. The jewellery also illustrates a correspondingly wide range of techniques and materials, including all the main methods of working gold, silver and copper alloys and their decoration especially filigree, niello, enamel and the setting of gems. Inevitably some periods, areas and techniques are better represented than others, but overall the Collection is remarkably comprehensive and in some areas, such as the Fatimid filigree, is among the finest in the world. This two-part volume includes virtually every form of personal adornment head, hair and headdress ornaments; earrings; nose rings; finger rings; pendants; beads; necklaces; bracelets, armlets and anklets; armband elements; amulets and amulet cases; pins and brooches; buttons; belts and belt fittings as well as harness fittings. Separate volumes in the Nasser D. Khalili Collection of Islamic Art series have been devoted to rings (vol. XVI) and the jewellery from Mughal India (vol. XVIII); more of the belt and harness fittings were included in the study of arms and armour (vol. XXI). Outstanding among the Khalili Collection jewellery are the Fatimid pieces, which include a pair of gold pins with extraordinarily fine vegetal designs rendered in the characteristic rope-and-grain filigree of Egypt or Syria; the many bracelets of the 10th early 13th centuries, including exceptional ones of gold sheet set with gems and decorated with inlaid niello and granulation made in Iran; the gold and silver repousse huntsmen s belt fittings from the Golden Horde Central Asia or the Qipchaq steppe, with clear Khitan or Jin influence; a larger number of enamelled and gilded copper-alloy belt and harness fittings from Nasrid Spain than in most other collections; an exquisite two-headed eagle in gold filigree set with emeralds from 18th-century Morocco; and a large group of Iranian enamelled jewellery of the Qajar period, including excellent enamelled pendants with portraits of the Qajar Shahs. In addition to Michael Spink s expertise in Islamic art and jewellery across its full geographical range brought to bear throughout the catalogue, Jack Ogden s comprehensive knowledge of ancient jewellery and jewellery technology is reflected in two important surveys of techniques and materials. Mark G. Kramarovksy contributed an important discussion of the origins of the spiral filigree style. Pedro Moura Carvalho reviewed the evidence for enamelling in Iran under the Safavid and Zand dynasties. J.M. Rogers made numerous additions, most notably his survey of the documentation of Ottoman jewellery, and with Manijeh Bayani have made the text of Nishaburi on medieval enamelling accessible to a wider audience.
This book explores the great diversity and range of Islamic culture through one of the finest collections in the world. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterworks created in the rich tradition of the Islamic faith and culture. The Metropolitan's renowned holdings range chronologically from the origins of Islam in the 7th century through the 19th century, and geographically from as far west as Spain to as far east as Southeast Asia.