Venetia Porter is Curator of the Islamic and Modern Middle Eastern Art collections at the British Museum. Her recent publications are Word into Art (2006), Arabic and Persian Seals and Amulets in the British Museum (2011), The Art of Hajj (2012) and (ed.) Hajj: Journey to the Heart of Islam (2012). Mariam Rosser-Owen is Curator for the Middle Eastern collections at the Victoria and Albert Museum, with a focus on the Arab lands. Her most recent book is Islamic Arts from Spain (London: V&A Publishing, 2010).

• INTRODUCTION: Venetia Porter and Mariam Rosser-OwenThe Principle of Parsimony: The Problem of the 'Mosul School' of Metalwork. Julian RabyMetalwork from the Iranian worldMetalwork and Fourteenth-Century Persian Painting: A Footnote. Teresa FitzherbertA die engraver from Balkh. Luke TreadwellThe ugly duckling of Iranian metalwork? Initial remarks on Qajar copper and copper alloy objects in the National Museums of Scotland. Ulrike al-KhamisIran and India:The Mobility of Metallurgy: A Case of Fraud in Medieval Kashmir. Finbarr B. FloodA Tubular Bronze Object from Khurasan. Lorenz KornPersians Abroad: The Case of the Jami' Masjid of Gulbarga. Robert HillenbrandMamluk metalwork in focus:A Mamluk Casket: An Extraordinary Object in the Fitzwilliam Museum. Rachel WardA Mamluk Tray: Its Journey to the Victoria and Albert Museum. Tim StanleyA Mamluk Basin: Arabic Titles, Well-Wishes and a Female Saint in the Rijksmuseum, Amsterdam. Luitgard MolsEgypt and Syria: artefact and text:A Tambourine-Player and the Fatimid Caliphate: Representation of women in Fatimid Baghdad.  Doris Behrens-AbouseifThe Fatimid Bronze Hoard of Tiberias. Elias KhamisThe Group of Round Boxes from Caesarea: The Decoration of Fatimid Metal Vessels. Ayala LesterIslamic Embroideries from Egypt: Shifts in Taste, Change in Status. Ruth BarnesMetalworking in Damascus: An Analysis of the Q?m?s al-?in?'?t al-Sh?miyya at the End of the Ottoman Period. Marcus MilwrightThe Islamic West:A Bronze Pillar Lampstand: Islamic Metalwork in Petralia Sottana, Sicily. Jeremy JohnsThe Metal Mounts on Andalusi Ivories: Initial Observations. Mariam Rosser-OwenMarble Spolia: Metalwork from the Badi' Palace in Marrakesh. Nadia Erzini and Stephen VernoitCeramic technology and innovation:Glaze-Decorated Unglazed Wares. Oliver Watson'Pearl Cups Like the Moon': The Abbasid Reception of Chinese Ceramics and the Belitung Shipwreck. Jessica HallettBranding 'Tradition': Contemporary tin glaze pottery from Puebla, Mexico. Farzaneh Pirouz-MoussaviStudies in lustreware:The Lion, the Hare and Lustreware. Fahmida SulemanFatimid Lustreware and Said el Sadr (1909-1986): A Succession. Alan Caiger-SmithPotter's Trail: An Abu Zayd Ewer in the St. Louis Art Museum. Oya Pancaro?luPainting traditions and contemporary art:The Mobility of Visual Culture: From the Workshops of New Julfa to the court of Tsar Aleksei Mikhailovich. Amy LandauModern Palimpsests: What Defines a Fake? Emilie Savage-Smith'Neo-calligraphism': Its Different Varieties in Modern and Contemporary Iranian Art. Hamid Keshmirshekan

Venetia Porter is Curator of the Islamic and Modern Middle Eastern Art collections at the British Museum. Her recent publications are Word into Art (2006), Arabic and Persian Seals and Amulets in the British Museum (2011), The Art of Hajj (2012) and (ed.) Hajj: Journey to the Heart of Islam (2012). Mariam Rosser-Owen is Curator for the Middle Eastern collections at the Victoria and Albert Museum, with a focus on the Arab lands. Her most recent book is Islamic Arts from Spain (London: V&A Publishing, 2010).

• INTRODUCTION: Venetia Porter and Mariam Rosser-OwenThe Principle of Parsimony: The Problem of the 'Mosul School' of Metalwork. Julian RabyMetalwork from the Iranian worldMetalwork and Fourteenth-Century Persian Painting: A Footnote. Teresa FitzherbertA die engraver from Balkh. Luke TreadwellThe ugly duckling of Iranian metalwork? Initial remarks on Qajar copper and copper alloy objects in the National Museums of Scotland. Ulrike al-KhamisIran and India:The Mobility of Metallurgy: A Case of Fraud in Medieval Kashmir. Finbarr B. FloodA Tubular Bronze Object from Khurasan. Lorenz KornPersians Abroad: The Case of the Jami' Masjid of Gulbarga. Robert HillenbrandMamluk metalwork in focus:A Mamluk Casket: An Extraordinary Object in the Fitzwilliam Museum. Rachel WardA Mamluk Tray: Its Journey to the Victoria and Albert Museum. Tim StanleyA Mamluk Basin: Arabic Titles, Well-Wishes and a Female Saint in the Rijksmuseum, Amsterdam. Luitgard MolsEgypt and Syria: artefact and text:A Tambourine-Player and the Fatimid Caliphate: Representation of women in Fatimid Baghdad.  Doris Behrens-AbouseifThe Fatimid Bronze Hoard of Tiberias. Elias KhamisThe Group of Round Boxes from Caesarea: The Decoration of Fatimid Metal Vessels. Ayala LesterIslamic Embroideries from Egypt: Shifts in Taste, Change in Status. Ruth BarnesMetalworking in Damascus: An Analysis of the Q?m?s al-?in?'?t al-Sh?miyya at the End of the Ottoman Period. Marcus MilwrightThe Islamic West:A Bronze Pillar Lampstand: Islamic Metalwork in Petralia Sottana, Sicily. Jeremy JohnsThe Metal Mounts on Andalusi Ivories: Initial Observations. Mariam Rosser-OwenMarble Spolia: Metalwork from the Badi' Palace in Marrakesh. Nadia Erzini and Stephen VernoitCeramic technology and innovation:Glaze-Decorated Unglazed Wares. Oliver Watson'Pearl Cups Like the Moon': The Abbasid Reception of Chinese Ceramics and the Belitung Shipwreck. Jessica HallettBranding 'Tradition': Contemporary tin glaze pottery from Puebla, Mexico. Farzaneh Pirouz-MoussaviStudies in lustreware:The Lion, the Hare and Lustreware. Fahmida SulemanFatimid Lustreware and Said el Sadr (1909-1986): A Succession. Alan Caiger-SmithPotter's Trail: An Abu Zayd Ewer in the St. Louis Art Museum. Oya Pancaro?luPainting traditions and contemporary art:The Mobility of Visual Culture: From the Workshops of New Julfa to the court of Tsar Aleksei Mikhailovich. Amy LandauModern Palimpsests: What Defines a Fake? Emilie Savage-Smith'Neo-calligraphism': Its Different Varieties in Modern and Contemporary Iranian Art. Hamid Keshmirshekan