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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.

More than five hundred full-color illustrations and reproductions capture a panoramic array of Islamic art and architecture in a study that examines the sources, forms, themes, and symbolism of Islamic artistry, as exemplified in mosques, palaces, landscape architecture, caligraphy, miniature painting, tapestries and textiles, and other artforms.

This gorgeous survey of art from the Islamic world covers three continents and fourteen centuries.From its birth in the seventh century through modern times, the Islamic religion has inspired glorious works of art. This stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world: from southern Europe, along the entire Mediterranean basin to sub-Saharan Africa through the Middle East, India, and Central Asia. Arranged geographically, the objects include paintings, miniatures, ceramics, calligraphy, textiles, carpets, and metal works. Each region is given a thorough introduction that offers historical context and extensive descriptions of its artifacts. Accompanying essays offer guidance in interpreting the many themes that tie these works together, including typology, calligraphy, and religious beliefs. Despite its wide-ranging history and origins, Islamic art is unified by its devotion to faith and beauty. With its large format, exquisite reproductions, and extensive research, this book is a thorough introduction to the Islamic artistic tradition.

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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.

Issam El-Said pinpoints the rules of composition that form the basis of the geometric concepts of Islamic art. He then shows how intricate patterns are based on these basic principles. Fully illustrated in three colors to show the development of the patterns, this book offers an insight into how craftsmen and designers in the Muslim world achieved monumental feats of artistic expression using the simplest of tools. Chapter I presents graphical analyses of numerous complex patterns, to reveal the numerical rationale behind them. In Chapter II, the author analyses the system of measure used in ancient Egypt, before the use of numbers for calculating measurements. He shows how measuring cords and a geometric method based on a grid-pattern originating from the circle were employed by master craftsmen in the design of Islamic art and architecture. The book offers an insight into how craftsmen and designers in the Muslim world have achieved monumental feats of artistic expression with harmony and precision, using the simplest of tools such as a ruler, a string and templates, together with a system of measure that is both simple and sophisticated.

This gorgeous survey of art from the Islamic world covers three continents and fourteen centuries.From its birth in the seventh century through modern times, the Islamic religion has inspired glorious works of art. This stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world: from southern Europe, along the entire Mediterranean basin to sub-Saharan Africa through the Middle East, India, and Central Asia. Arranged geographically, the objects include paintings, miniatures, ceramics, calligraphy, textiles, carpets, and metal works. Each region is given a thorough introduction that offers historical context and extensive descriptions of its artifacts. Accompanying essays offer guidance in interpreting the many themes that tie these works together, including typology, calligraphy, and religious beliefs. Despite its wide-ranging history and origins, Islamic art is unified by its devotion to faith and beauty. With its large format, exquisite reproductions, and extensive research, this book is a thorough introduction to the Islamic artistic tradition.

Surveys the significant artistic and architectural works of Islamic countries from the seventh through the thirteenth centuries

This is the first book-length study of the art and architecture of the Fatimids, the Ismaili Shi'i dynasty that ruled in North Africa and Egypt from 909 to 1171. The Fatimids are most famous for founding the city of al-Qahira (Cairo) in 969, and their art―particularly textiles and luster ceramics, but also metalwork and carved rock-crystal, ivory and woodwork―has been admired for nearly a millennium. In this engaging and accessible book, Jonathan M. Bloom concentrates on securely dated and localized examples of Fatimid art and architecture. His discussions focus on significant examples and are illustrated with over 100 photographs, many in color, and extensive notes and bibliography provide guidance for further reading and research.

Provides an in-depth and diverse suvery of 1,400 years of art and architecture from ornate mosques and pottery, to calligraphy, carpets and costume

Five essays explore aspects of aesthetics in classical Islamic thought in light of contemporary theories, offering new perspectives on Islamic art and architecture with examples ranging from the Qur'an and the Alhambra to the works of present day artists and philosophers. Tracing the roots of Islamic aesthetics back to the works of the philosophers of the Middle Ages such as Avicenna and Averroes, Valerie Gonzalez finds that aesthetic theory in Islam must be seen within the much wider context of parallel thinking on theology, ethics, physics, and metaphysics. She balances her analysis of this philosophy (moral, logical, and scientific) of beauty with the equally important analysis of the perceptual experience of beauty.

Five essays explore aspects of aesthetics in classical Islamic thought in light of contemporary theories, offering new perspectives on Islamic art and architecture with examples ranging from the Qur'an and the Alhambra to the works of present day artists and philosophers. Tracing the roots of Islamic aesthetics back to the works of the philosophers of the Middle Ages such as Avicenna and Averroes, Valerie Gonzalez finds that aesthetic theory in Islam must be seen within the much wider context of parallel thinking on theology, ethics, physics, and metaphysics. She balances her analysis of this philosophy (moral, logical, and scientific) of beauty with the equally important analysis of the perceptual experience of beauty.

Few know of the reign of the Mamluks, but all will appreciate the beauty of the art and architecture they left behind. The reign of the Mamluks marked a breathtaking flowering of Islamic art. Their control of trade across much of the Middle East ensured a steady flow of funds into Mamluk coffers, which supported the artistic output that made Cairo, in the words of Ibn Khaldun, "the center of the universe and the garden of the world." This book shows off the majestic domes, courtyards, and soaring minarets that won Cairo its high praise. Those interested in Islamic history will be enthralled by the examination of sites, and general readers will enjoy learning more about this little-known facet of the world's cultural heritage.

Picture Shown is For Illustration Purposes Only, Please See Below For Further DetailsCONDITION ? VERY GOOD ? HARDBACK - light wear and scuff marks to jacket, pages in nice condition, shipped from the UK

In tenth-century Iraq, a group of Arab intellectuals and scholars known as the Ikhwan al-Safa began to make their intellectual mark on the society around them. A mysterious organisation, the identities of its members have never been clear. But its contribution to the intellectual thought, philosophy, art and culture of the era - and indeed subsequent ones - is evident. In the visual arts, for example, Hamdouni Alami argues that the theory of human proportions which the Ikwan al-Safa propounded (something very similar to those of da Vinci), helped shape the evolution of the philosophy of aesthetics, art and architecture in the tenth and eleventh centuries CE, in particular in Egypt under the Fatimid rulers. With its roots in Pythagorean and Neoplatonic views on the role of art and architecture, the impact of this theory of specific and precise proportion was widespread. One of the results of this extensive influence is a historic shift in the appreciation of art and architecture and their perceived role in the cultural sphere. The development of the understanding of the interplay between ethics and aesthetics resulted in a movement which emphasised more abstract and pious contemplation of art, as opposed to previous views which concentrated on the enjoyment of artistic works (such as music, song and poetry). And it is with this shift that we see the change in art forms from those devoted to supporting the Umayyad caliphs and the opulence of the Abbasids, to an art which places more emphasis on the internal concepts of 'reason' and 'spirituality'.Using the example of Fatimid art and views of architecture (including the first Fatimid mosque in al-Mahdiyya, Tunisia), Hamdouni Alami offers analysis of the debates surrounding the ethics and aesthetics of the appreciation of Islamic art and architecture from a vital time in medieval Middle Eastern history, and shows their similarity with aesthetic debates of Italian Renaissance.

In tenth-century Iraq, a group of Arab intellectuals and scholars known as the Ikhwan al-Safa began to make their intellectual mark on the society around them. A mysterious organisation, the identities of its members have never been clear. But its contribution to the intellectual thought, philosophy, art and culture of the era - and indeed subsequent ones - is evident. In the visual arts, for example, Hamdouni Alami argues that the theory of human proportions which the Ikwan al-Safa propounded (something very similar to those of da Vinci), helped shape the evolution of the philosophy of aesthetics, art and architecture in the tenth and eleventh centuries CE, in particular in Egypt under the Fatimid rulers. With its roots in Pythagorean and Neoplatonic views on the role of art and architecture, the impact of this theory of specific and precise proportion was widespread. One of the results of this extensive influence is a historic shift in the appreciation of art and architecture and their perceived role in the cultural sphere. The development of the understanding of the interplay between ethics and aesthetics resulted in a movement which emphasised more abstract and pious contemplation of art, as opposed to previous views which concentrated on the enjoyment of artistic works (such as music, song and poetry). And it is with this shift that we see the change in art forms from those devoted to supporting the Umayyad caliphs and the opulence of the Abbasids, to an art which places more emphasis on the internal concepts of 'reason' and 'spirituality'.Using the example of Fatimid art and views of architecture (including the first Fatimid mosque in al-Mahdiyya, Tunisia), Hamdouni Alami offers analysis of the debates surrounding the ethics and aesthetics of the appreciation of Islamic art and architecture from a vital time in medieval Middle Eastern history, and shows their similarity with aesthetic debates of Italian Renaissance.

Hamid Naweed has received his M.F.A from the State University of New York at Buffalo. He was the professor of art history, color theory, studio arts, and art appreciation at the Fine Arts Department of Kabul University and is now an honorary member of the High Counsel of Arts, Center for Contemporary in Arts Afghanistan and Kabul University Faculty of Fine Arts. Hamid Naweed is also the Cultural Director of "Alliance for the Restoration of Cultural Heritage" (ARCH), based in Washington, DC. As a Fulbright scholar, he has conducted many research studies in the field of arts and humanities. Naweed is the author of the novel, The Music of The Reeds. He has also authored a number of scholarly essays on the art and culture of Afghanistan and the region and has given talks on the same topics at George Washington University, George Mason University, John Hopkins University, Columbia University and the Historical Society of Williamsburg. His script for the Movie "Loori" won "New York International Film Festival's Best Feature Film Prize in 2008. Hamid Naweed is also an accomplished artist who works in oil and acrylics. As a recognized poet of Dari, Naweed is an active member of the Afghan Poetic Society (Sham-i- Erfan). His lectures on art and literature have been widely aired by the Radio Voice of America Dari Service, Ariana Afghan TV Network, Zarin TV, and Radio Naqsh- Hai-e Jawidan, based in the Bay Area of California servicing the Afghan Community. Art through the Ages in Afghanistan, written in two volumes is a major work. It is the product of many years of research, including frequents visits to Kabul Museum and important archeological sites in Afghanistan, as well as visits to major museums in Europe and America housing important artifacts from Afghanistan. In completing his work Naweed has also made use of numerous interviews with Afghan and international scholars, local artist and local people living in the v

Draws on the most representative examples from private collections to illuminate common decorative motifs and themes in Mughal art, in an illustrated survey that evaluates the workmanship, materials, and techniques common to all depicted objects.

Draws on the most representative examples from private collections to illuminate common decorative motifs and themes in Mughal art, in an illustrated survey that evaluates the workmanship, materials, and techniques common to all depicted objects.

Design details: Gray Framed Giclee Art Add dimension to any room with this textured Framed Giclee Artwork. This framed artwork is securely mounted into a 1.5-inch thick wood grain frame and ready to hang. Frames are available in three alluring styles: black, gray farmhouse and white. In addition, you should check out the oversized options if you want a statement piece. Stupell Industries Wall Art is made in the USA. Image type: Giclee Arrives ready to hang Made in the USA Choose from the following: 12in x 12in 17in x 17in 24in x 24in