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This book examines British collectors of so-called Persian art (a broad umbrella term then covering a large portion of Islamic art) in the late 19th century, including ceramics, metalwork, carpets, textiles and woodwork. Based on a foundational event, the very first exhibition of “Persian and Arab Art” held by a London Gentlemen’s Club in 1885, this book follows one generation of men, retracing the subtle shades of difference among “amateurs,” “connoisseurs,” “experts” and “collectors,” and exploring all the mechanisms of the construction of a collective fascination for the Orient. Isabelle Gadoin uncovers some of the first “scientific” analyses of Islamic objects and of the first private notebooks or exhibition catalogues, to provide an in-depth study of the way Westerners talked about Islamic objects and began to define what would become Islamic art history. All the while, Gadoin unravels the skein of Western prejudice, Romantic fancy, sincere admiration and ruthless appropriation, in art collecting, to write a new chapter of Orientalist history. The book will be of interest to scholars working in art history, history of collecting, colonialism and postcolonialism, and Orientalism.
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.
Ink, Silk, and Gold explores the dynamic and complex traditions of Islamic art through more than 115 major works in a dazzling array of media, reproduced in full color and exquisite detail manuscripts inscribed with gold, paintings on silk, elaborate metalwork, intricately woven textiles, luster-painted ceramics, and more. These objects, which originated within an Islamic world that ranges from Western Europe to Indonesia and across more than thirteen centuries, share a distinctive relationship to the materials they are made of: their color, shape, texture, and technique of production all convey meaning. Enhanced by texts from an international team of scholars and drawing on the latest technical information, Ink, Silk, and Gold is an inviting introduction to the riches of the Islamic art collection at the Museum of Fine Arts, Boston, and a window into a vibrant global culture.
-Provides an accessible walking tour of the Metropolitan Museum's world-famous Islamic Art Galleries -Features the popular Damascus Room and many other highlights of the Metropolitan's collection -Only guide available to the Islamic galleries of The Metropolitan Museum of Art The museum's superlative collection of Islamic art, from as far west as Spain and as far east as India, ranges in date from the 7th to the 19th century and reflects the diversity and scope of Islamic cultures and the richness of their artistic traditions. This essential guide to the collection is organized into four thematic tours.
This book explores how collecting and scholarship in the field of Islamic Art developed between c.1850 and c.1950, the period when the intellectual foundations for the study of Islamic art were established. Stephen Vernoit outlines the formation of collections, the role of exhibitions, museums and libraries, the growth of the art market, and the emergence of scholarship.
"Praised by the New York Times as "a highly important exhibition book," this lavishly produced catalog reproduces illustrated texts from the groundbreaking exhibition at the Arthur M. Sackler Gallery. Called "fabulous" by the Washington Post, Falnama was the first show of its kind dedicated to the art of divination in the Islamic world. The Falnama were brilliantly painted compositions created in Safavid Iran and Ottoman Turkey in the sixteenth and early seventeenth centuries. Falnama: The Book of Omens combines rare images with scholarly texts on the deeper meaning of dreams, omens, and divination. Featured in this first publication ever devoted to the Falnama as a genre are intact volumes as well as text folios and illustrations now dispersed among international public and private collections. Essays by scholars of Safavid, Ottoman, and Byzantine history and language, complemented by full-color illustrations, offer detailed analysis of the form, content, and meaning of these rarely seen works of art. The first-ever translations of three of the four monumental copies provide insight into a vivid and enduring aspect of human concern--the unknown."--Publisher's website.
Masterpieces from the world-renowned Keir collection of Islamic art are comprehensively shown, for the first time, in this publication. A selection of 112 exquisite objects instills an appreciation for the wealth and magnificence of oriental art, with a focus on filling gaps between more widely represented styles and periods with particularly rare and unusal finds. Assembled over a period of fifty years, the collection - internationally known as the Keir collection - of Hungarian Edmund de Unger, encompasses almost all the periods and artistic landscapes of Islamic core-countries, the Mediterranean and central Asia. In its stylistic breadth and archaeological value, the collection measures up to those of all major museums of Islamic art. De Unger has made it his objective to systematically select objects which are rarely represented and styles which still cause controversy among researchers. With a discerning eye, he has tracked them down at markets and, above all, in famous old collections. Among the treasures shown in the volume are calligaphies, books and manuscripts, dating back up to six centuries, along with ceramics, metal art, silk and velvet brocades and awe-inspiring rock crystal objects made during he reign of the Fatimids in Egypt (969-1171). With its illuminating texts and vibrant images, the book makes for a fascinating and inspiring read.
A unique, multi-authored volume on the issues and politics of curating Islamic art in the twenty-first century.