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Saint George Between Empires
This volume examines Saint George's intertwined traditions in
the competing states of the eastern Mediterranean and
Transcaucasia, demonstrating how rival conceptions of this
well-known saint became central to Crusader, Eastern Christian, and
Islamic medieval visual cultures.
Saint George Between Empires links the visual cultures
of Byzantium, North Africa, the Levant, Syria, and the Caucasus
during the Crusader era to redraw our picture of interfaith
relations and artistic networks. Heather Badamo recovers and
recontextualizes a vast body of images and literature-from
etiquette manuals and romances to miracle accounts and
chronicles-to describe the history of Saint George during a period
of religious and political fragmentation, between his \"rise\" to
cross-cultural prominence in the eleventh century and his
\"globalization\" in the fifteenth. In Badamo's analysis, George
emerges as an exemplar of cross-cultural encounter and global
translation.
Featuring important new research on monuments and artworks that
are no longer available to scholars as a result of the occupation
of Syria and parts of Iraq, Saint George Between Empires
will be welcomed by scholars of Byzantine, medieval, Islamic, and
Eastern Christian art and cultural studies.
eBook
Islamic Aesthetics
It is often argued that a very special sort of consciousness
went into creating Islamic art, that Islamic art is very different
from other forms of art, that Muslims are not allowed to portray
human beings in their art, and that calligraphy is the supreme
Islamic art form. Oliver Leaman challenges all of these ideas, and
argues that they are misguided. Instead, he suggests that the
criteria we should apply to Islamic art are identical to the
criteria applicable to art in general, and that the attempt to put
Islamic art into a special category is a result of orientalism.
Leaman criticizes the influence of Sufism on Islamic aesthetics
and contends that it is generally misleading regarding both the
nature of Islam and artistic expression. He discusses issues
arising in painting, calligraphy, architecture, gardens,
literature, films, and music and pays close attention to the
teachings of the Qur'an. In particular he asks what it would mean
for the Qur'an to be a miraculous literary creation, and he
analyzes two passages in the Qur'an-those of Yusuf and Zulaykha
(Joseph and Zuleika) and King Sullayman (Solomon) and the Queen of
Sheba. His arguments draw on examples from history, art,
philosophy, theology, and the artefacts of the Islamic world, and
raise a large number of difficulties in the accepted paradigms for
analyzing Islamic art.
eBook
Muslim rap, halal soaps, and revolutionary theater : artistic developments in the Muslim world
No detailed description available for \"Muslim Rap, Halal Soaps, and Revolutionary Theater\".
eBook
Islamic art
From its birth in the 7th 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. With its large format, exquisite reproductions, and extensive research, this book is a thorough introduction to the Islamic artistic tradition.
Book
Spiritual Aesthetics of Islamic Ornamentation and the Aesthetic Value in Islamic Architecture
Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it, that might influence a person's perception of spiritual aesthetics. Therefore, this article explore what spiritual aesthetic means and how it relates to Islamic ornamentation. Furthermore, Islamic ornamentation should be considered a part of the interior of the Islamic architecture rather than just decorations added after the fact or to cover in gaps. Through the interplay of the people and interior space, these ornaments have the potential to engage with human aesthetics. Therefore, this research also focuses on the aesthetics and beauty of ornaments, which satisfy one of human psychological needs: to be in a beautiful environment. Because emphasis of the research is to explore how people perceive the aesthetics of Islamic ornamentation, a semiotics method was chosen because of its capacity to transcend literal meanings. The identification and evaluation of the aesthetic and religious qualities of the Islamic ornamentation brought out in this paper can be very helpful for the artists as well as scholars in understanding the Islamic art. Keywords: Islamic Ornaments, Islamic Architecture, Aesthetic Value, Spiritual Aesthetics, Islamic Art, Architectural Ornaments
Journal Article
Islamic art
From its birth in the 7th 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. With its large format, exquisite reproductions, and extensive research, this book is a thorough introduction to the Islamic artistic tradition.
Book
The Religious Plot in Museums or the Lack Thereof: The Case of Islamic Art Display
During the last decade, the curation of Islamic art and artifacts has been crossed by tensions at both the theoretical and practical level. Not only has it been continuously grappling with the Orientalist legacy, but it has also been operating in a global contemporaneity affected by multiple conflicts engendering a misperception of Muslims and Islam by non-Muslims. With this heavy background, this curation has been pursuing three main objectives: educating the public, decolonizing the museum, and reaching out to the Muslim communities and refugees living in non-Muslim societies. However, in the West, which remains worldly influential in the domain of heritage management, the first two objectives drove curators to engage in problematic practices, most notably the suppression of what we may call the “religious plot” in the exhibits’ narrative. Moreover, while the educational impulse led to a secular didactic scholasticism erected as the supreme exhibitory norm, the decolonizing enterprise took on an ideological turn in the form of a neo-postcolonial discourse at odds with a reality that has considerably changed since the seventies. Contesting the “being Islamic” of the material curated, this discourse separates religion from culture, thus relegating the faith to a theme among other multiple themes in the museum displays. That this state of affairs is problematic appears in crude light as, in the last decade, a new Muslim-led curatorship has been challenging this secularist curatorial politics. Re-centering Islam in the representational emplotment regarding Islamic culture in the exhibitory space and experimenting in the installations’ design to this effect, this curatorship, this essay’s author believes, holds the future of Islamic museology.
Journal Article