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This richly illustrated book allows readers to identify the elements and themes of Islamic art forms, and to examine them in works of painting and metalwork, in calligraphy and manuscripts, ceramics, glass, wood, and ivory.
Published in paperback for the opening of the new Jameel Gallery of Islamic Art at the V&A, this fascinating introduction to Islamic art and culture draws on examples from its magnificent collections. It is an invaluable overview of a complex subject, exploring the cultural significance of objects in different media, from ceramics, miniature painting and textiles to wood-carving and metalwork, while the superb photographs highlight their unique craftsmanship. From the Middle East came the earliest astrological clocks, the finest ceramics and lustreware, the development of calligraphy and Arabic scripts, and the intricate skills of carpet-weaving, among many other profoundly significant cultural developments. This cradle of empires was also a vibrant commercial centre, exporting raw materials, skills and techniques to surrounding lands, and spreading its web of influence from Southern Spain to Northern India. Palace and Mosque distills a rich and vibrant culture, and will be of lasting value to all those interested in the glories of the Islamic world.
This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.
"The first monograph to successfully address the dual questions of the development of painting in the Islamic lands in the 19th and 20th centuries and the significance of an indigenous 20th-century artistic tradition . . . presents a lucid and objective discussion of provocative questions related to the evolution of contemporary painting from Islamic lands, including the role of colonial institutions, indigenous patronage, art education, and the formation of a national artistic identity."--Layla S. Diba, associate curator for Islamic art, Brooklyn Museum In this beautifully illustrated book, Wijdan Ali offers a historical survey of the development of modern painting in the Islamic world from the 19th century to the present. She provides background on dominant artistic traditions before 1900 as well as an evaluation of the loss of traditional aesthetics under the impress of Western culture. Ali also explores the persistence and reemergence of calligraphic art as an expression of national artistic identity, and hers is the first book to consider in depth the modern calligraphic school. Ali's account begins with a descriptive survey of the development of contemporary art in the heartland of Islam, from Morocco to Iran. Her discussion incorporates the historical, political, social, and economic factors that brought about artistic and aesthetic changes in the region. Building on this survey, she analyzes the factors behind the evolution of various styles of calligraphic art, their substyles and adherents, and their respective places within the contemporary calligraphic school. In an appendix, she provides biographical data on the most influential modern Islamic artists. More than 150 color and black-and-white photographs allow the reader to see and appreciate the beauty and importance of these works. While a few recent collection catalogs have hinted at the growing interest in the art of the Islamic world, Ali's study is by far the most comprehensive yet undertaken of Islamic art in the contemporary period. It will substantially expand the study and concept of "modern art" beyond the narrow province of American and western European schools and establish a broad foundation for future investigation of modern artistic movements in the Middle East. Wijdan Ali is a painter, art historian, and lecturer at the Institute of Diplomacy, Amman, Jordan. Her most recent publications are What Is Islamic Art? (1996) and Modern Art in Jordan (1996).
A guide to the architecture, calligraphy, ceramics, and other arts of Islam covers a thousand years of history and an area stretching from the Atlantic to the borders of India and China
They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles.