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SHORTLISTED FOR THE WILLIAM SAROYAN INTERNATIONAL PRIZE FOR WRITING. ONE OF BOOKLIST'S TOP TEN RELIGION AND SPIRITUALITY BOOKS. ONE OF BOOKLIST'S TOP TEN DIVERSE NONFICTION BOOKS. Honorable Mention in the San Francisco Book Festival Awards, Spiritual Category A 2019 United Methodist Women Reading Program Selection This enthralling story of the making of an American is a timely meditation on being Muslim in America today. Threading My Prayer Rug is a richly textured reflection. It is also the luminous story of many journeys: from Pakistan to the United States in an arranged marriage that becomes a love match lasting forty-five years; from secular Muslim in an Islamic society to devout Muslim in a society ignorant of Islam, and from liberal to conservative to American Muslim; from bride to mother; and from an immigrant intending to stay two years to an American citizen, business executive, grandmother, and tireless advocate for interfaith understanding. Beginning with a sweetly funny, moving account of her arranged marriage, the author undercuts stereotypes and offers the refreshing view of an American life through Muslim eyes. Sabeeha was doing interfaith work for Imam Feisal A. Rauf, the driving force behind the Muslim community center near Ground Zero, when the backlash began. She recounts what that experience revealed about American society and in a new preface discusses Islam in America in the time of Trump.
The engaging and accessible volume offers invaluable insights and novel perspectives on what is perhaps the most iconic of all Islamic art forms: the handwoven carpet. With a history stretching back to the fourteenth century and a geographic reach spanning Europe to Eurasia, Mongolia to the Middle East, Islamic carpets boast a degree of innovation and technical skill to rival the world's most exalted works of art. Beauty and brilliance emerge in equal measure from carpets of all forms be they colossal silk rugs exchanged as gifts by sultans and kings or small and sturdy textiles woven for use in nomadic encampments. Some sixty superlatives examples from the Metropolitan Museum's collection—from Persia, India, Turkey, North Africa, and across the Islamic world—are presented here in lavish detail, with concise and approachable texts that position each work in historical and cultural context. Beginning with a discussion of materials and techniques, How to Read Islamic Carpets offers a comprehensive introduction to this captivating art form, and reveals the lasting influence of carpet-weaving traditions in lands far beyond the Islamic world.
Did you know that there are around 200 Arabic words you already recite every day in your daily Salah that makes up over 50% of words used in the Quran? Once you know the meaning of these words you will not only understand each word in your daily Salah - prayers but you will be able understand more than half of words used in the Quran. This book grants you free access to the animated video series of the books companion so it makes your Quran learning journey much easier with daily 3 minute short videos. The link is provided inside the book. Understand the Qur'an & Salah - the Easy Way is the first course to help you build a strong foundation in Qur'anic Arabic. After completion of this book, your Salah will be never be the same again! InshaAllah, you will have much more focus and concentration in it. You will learn 232 Qur'anic words which occur 41,000 times, i.e., more than 50% of total words in the Qur'an; You will learn basic pronouns, prepositions, and 3-letter sound verbs; You will be amazed to learn that 6 out of 9 words in each line of Surah Baqarah are from Course-1. Unique features: Complete Salah with meanings is covered. A brief explanation of the verses, & interaction with the Qur'an with the help of Dua, Evaluation, Plan, and Propagate formula. The selection of the Qur'anic Words is made based on its high frequency of occurrence in the Qur'an. More attention is on "Tasreef" (word construction from a root). State of the art language learning methods used in this course makes the learning easy and efficient. A simple yet powerful technique of TPI (Total Physical Interaction) makes learning Arabic Grammar engaging.
Written on the occasion of the May 1922 gift of the James F. Ballard Collection to The Metropolitan Museum of Art, this catalogue illustrates and discusses the 125 ancient carpets from Persia, India, Turkey, The Caucasus, Central Asia, and Spain included in this gift which span from the fifteenth to the early nineteenth century. A short introduction covers the history of rug weaving and a brief discussion of rugs from each region represented.
There has been an urgent need for a simple and concise guide which teaches the basics of prayer for Muslims. This book has been designed for people who don't know how to pray yet or those who aren't sure whether they learned correctly or not.In this book you will learn the prayers by reading clear and simple descriptions of what to do along with pictures to make sure you understood correctly. One of the unique features of this book is that it doesn't limit itself to teaching the rituals behind the prayer only. Rather, there is an entire chapter dedicated to learning the meanings behind each statement and action in the prayer.
Islamic prayer rugs have not been studied as frequently in scholarly research as compared to other Middle Eastern decorative carpets. Yet, for centuries, they have been traded by Muslims and non-Muslims across the world and some become collection/museum items in secular settings. Thus, prayer rugs are multifunctional and are more than merely an Islamic prayer implement. I conclude that prayer rugs hold agency and link various worlds due to their motifs, usages, and mobility. In terms of agency, I draw on materiality theory which highlights objects as not passive and that they possess a dialectic relationship with humans. I examine eighteenth and nineteenth century Turkish sajjada prayer rugs (prayer rugs intended for the use of one person while praying) from the Arthur D. Jenkins collection at The Textile Museum and the James F. Ballard collection at The Metropolitan Museum of Art. From the woven motifs, links are created between false dichotomies. Recurrent prayer rug motifs such as niche symbols, candles and lamps, floral imagery, and geometric patterns refer to Islamic ideologies. As a result, the profane, real, and material world is connected to the sacred, idealized, immaterial world. Connections between the human body, cardinal directions and idealized beliefs are further established during prayer usage. Even from mobility such as trade, these sacred objects bridge together false dichotomies, individuals and transform people. Therefore, the prayer rug and human relationship is dialectic not dichotomous. Depending on usage, these objects can likewise go in between religious or secular spheres. This is unlike other Middle Eastern decorative carpets and other rugs. By applying the concept of materiality and adding more awareness to prayer rugs, this research helps show that they influence the worlds they occupy as active agents.
"With potent, lyrical language and a profound knowledge of storytelling, Shaw encourages and illuminates the mythic in our own lives. He is a modern-day bard." – Madeline Miller, author of Circe and The Song of Achilles At a time when we are all confronted by not one, but many crossroads in our modern lives—identity, technology, trust, politics, and a global pandemic—celebrated mythologist and wilderness guide Martin Shaw delivers Smoke Hole: three metaphors to help us understand our world, one that is assailed by the seductive promises of social media and shadowed by a health crisis that has brought loneliness and isolation to an all-time high. Smoke Hole is a passionate call to arms and an invitation to use these stories to face the complexities of contemporary life, from fake news, parenthood, climate crises, addictive technology and more. Shaw urges us to reclaim our imagination and untangle ourselves from modern menace, letting these tales be our guide. More Praise: "I can still remember the first time I heard Martin Shaw tell a story. The tale that emerged was like a living thing, bounding around, throwing itself at us there listening. I had never heard anything like it before." – Paul Kingsnorth, Booker shortlisted author of The Wake "Martin Shaw’s work is so very beautiful. A new animal. His love of images is deep and contagious." – Coleman Barks, author of The Essential Rumi "Through feral tales and poetic exegesis, Martin Shaw makes you re-see the world, as a place of adventure, and of initiation, as perfect home, and as perfectly other. What a gift." – David Keenan, author of Xstabeth "Shaw has so much wisdom and knowledge about the old stories, it emanates from his pores." – John Densmore, The Doors