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This magnificent volume explores the epochal transformations and unexpected continuities in the Byzantine Empire from the 7th to the 9th century. At the beginning of the 7th century, the Empire's southern provinces, the vibrant, diverse areas of North Africa and the eastern Mediterranean, were at the crossroads of exchanges reaching from Spain to China. These regions experienced historic upheavals when their Christian and Jewish communities encountered the emerging Islamic world, and by the 9th century, an unprecedented cross- fertilization of cultures had taken place. This extraordinary age is brought vividly to life in insightful contributions by leading international scholars, accompanied by sumptuous illustrations of the period's most notable arts and artifacts. Resplendent images of authority, religion, and trade—embodied in precious metals, brilliant textiles, fine ivories, elaborate mosaics, manuscripts, and icons, many of them never before published— highlight the dynamic dialogue between the rich array of Byzantine styles and the newly forming Islamic aesthetic. With its masterful exploration of two centuries that would shape the emerging medieval world, this illuminating publication provides a unique interpretation of a period that still resonates today.
The official guide to the Museum --
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.
From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world. Venice and the Islamic World, 828–1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.
Emile Prisse d'Avennes (1807-79) spent a total of nineteen years in Egypt, traveling throughout the country to collect the stunning images that he later published in Paris in two collections, Atlas de l'histoire de l'art egyptien and L' Art arabe. It is the illustrations from the latter that make up this volume. Prisse's masterly renderings of Cairo's mosques and their decorations more than retain their impact today: they still have the power to amaze and delight, while at the same time carrying valuable historical and artistic information for specialists studying Islamic art and architecture.
Published on the occasion of the exhibition The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts, Istanbul, held at the Arthur M. Sackler Gallery, Washington, D.C., October 15, 2016-February 20, 2017.
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.
Oleg Grabar, On Catalogues, Exhibitions, and Complete Works; Jonathan M. Bloom, The Mosque of the Qarafa in Cairo; Leonor Fernandes, The Foundation of Baybars al-Jashankir: Its Waqf, History, and Architecture; Howard Crane, Some Archaeological Notes on Turkish Sardis; Nancy Shatzman Steinhardt, Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period; Do?gan Kuban, The Style of Sinan's Domed Structures; Yasser Tabbaa, Bronze Shapes in Iranian Ceramics of the Twelfth and Thirteenth Centuries; Mehrdad Shokoohy and Natalie H. Shokoohy, The Architecture of Baha al-Din Tughrul in the Region of Bayana, Rajasthan; Glenn D. Lowry, Humayun's Tomb: Form, Function, and Meaning in Early Mughal Architecture; Peter Alford Andrews, The Generous Heart or the Mass of Clouds: The Court Tents of Shah Jahan; Priscilla P. Soucek, Persian Artists in Mughal India: Influences and Transformations; A.J. Lee, Islamic Star Patterns;
Re-Envisioning Egypt, 1919-1952 presents new and often dismissed aspects of the constitutional monarchy era in Egyptian history. It demonstrates that many of the domestic and regional sociopolitical and cultural changes credited to the 1952 revolutionaries actually began in the decades before the July coup. Arguing against the predominant view of the pre-revolutionary era in Egypt as one of creeping decay, the volume restores understandings of the 1919-1952 years as integral to modern nation-state formation and social transformation. The book's contributors show that Egypt's real revolutions were long-term processes emerging over several decades prior to 1952. The leaders of the 1952 coup capitalized on these developments, yet earlier changes in Egyptian society fundamentally facilitated their actions and policies. This volume includes revisionist discussion of domestic political issues and foreign policy; the military, education, social reform, and class; as well as popular media, art, and literature. By introducing new approaches to these under-appreciated categories of analysis through exploration of untapped sources and by re-examining the political context of the time, Re-Envisioning Egypt, 1919-1952 proposes innovative methodologies for understanding this crucial period in Egyptian history, casting these years as fundamental to the country's twentieth-century trajectory. Contributors: Tewfik Aclimandos, Malak Badrawi, Andrew Flibbert, Nancy Gallagher, Arthur Goldschmidt, Mervat Hatem, Misako Ikeda, Amy J. Johnson, Anne-Claire Kerboeuf, Samia Kholoussi, Hanan Kholoussy, Fred Lawson, Shaun T. Lopez, Scott David McIntosh, Roger Owen, Lucie Ryzova, Barak A. Salmoni, James Whidden, Caroline Williams.