Gülru Necipoglu – författare

This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today. Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism.Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions. Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context. Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); Maria Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Remi Labrusse (Universite Paris Ouest Nanterre la Defense); Gulru Necipo?lu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaro?lu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J.Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence).

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50  specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions  The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50  specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions  The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50  specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeurEssays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year spanThe Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in questionThe volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

Mimar Koca Sinan (c. 1489-1588), the Great Architect Sinan, was appointed chief royal architect to the Ottoman court by Sultan Suleyman I in 1539. During his fifty-year career he designed and constructed hundreds of buildings including mosques, palaces, harems, chapels, tombs, schools, almshouses, madrassahs, caravanserais, granaries, fountains, aqueducts and hospitals. His distinctive architectural idiom also left its imprint over the terrains of a vast empire extending from the Danube to the Tigris, and he became the most celebrated of all Ottoman architects, particularly renowned for his influence on the cityscape of Istanbul.Sinan's most influential buildings were his mosque complexes, where his inventive experimentation with light-filled centralized domes, often compared with parallel developments in Renaissance Italy, produced spaces in which the central dome appeared weightless and the interior surfaces bathed in light. In this monumental new study, Gulru Necipoglu argues that Sinan's rich variety of mosque designs sprang from a process of negotiation between the architect and his patrons, rather than from unrestrained formal experimentation as has been previously described. The author is the first to use published and unpublished primary sources to illuminate the cultural setting in which Sinan's monuments were produced, received and experienced.The author describes how Sinan created a layered system of mosque types, reflecting social status and territorial rank, shaped by ideas of identity, memory and decorum. Seen from this perspective, Sinan's works, with their highly standardized pattern of forms, used in ingeniously varied combinations, acquire dimensions of meaning that have not been previously recognized.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. The articles in Muqarnas 27 address topics such as spolia in medieval Islamic architecture, Islamic coinage in the seventh century, the architecture of the Alhambra from an environmental perspective, and Ottoman–Mamluk gift exchange in the fifteenth century. The volume also features a new section, entitled “Notes and Sources”, with pieces highlighting primary sources such as Akbar’s Kathāsaritsāgara. Contributors include Ebba Koch, Elizabeth Lambourn, Elias Muhanna, Rina Avner, Kathryn Moore, Alicia Walker, Todd Willmert, Julia Gonnella, Zeynep Ertuğ, Jere Bacharach, Persis Berlekamp, Heike Franke, Vincenza Garofalo, and Fabrizio Agnello.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources. Contributors include: Doris Behrens-Abouseif; Stephennie Mulder; Chad Kia; Maryam Ekhtiar; Abdolhamid Keshmirshekan; Willem Floor; Elizabeth Lambourn; Hussein Keshani, İlknur Aktuğ Kolay and Serpil çelik; Vildan Serdaroğlu; Selin İpek; Marcus Milwright

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Muqarnas 28 contains articles on a number of topics including shadow puppets, the concept of fann, Byzantine and Ottoman architecture, and seventeenth-century Persian painting. The "Notes and Sources" section includes a discussion of an early fifteenth-century Khamsa in the Bryn Mawr College Library. Contributors include: Alain George, Marcus Milwright, Adam Mestyan, Amy S. Landau, Lisa Golombek, Suna Çağaptay, Doris Behrens-Abouseif, Filiz Çağman and Zeren Tanındı, Yael Rice, and †Oleg Grabar

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Muqarnas 29 features a subset of articles involving cross-cultural interactions between East and West as manifested in the visual culture of the region. Articles addressing this theme include “Visual Cosmopolitanism and Creative Translation: Artistic Conversations with Renaissance Italy in Mehmed II’s Constantinople,” by Gülru Necipoğlu, and “The Bride of Trebizond: Turks And Turkmens on a Florentine Wedding Chest, circa 1460,” by Cristelle Baskins. The “Notes and Sources” section highlights new research on the medieval town of Hulbuk in Central Asia.Contributors include: Gülru Necipoğlu, Cristelle Baskins, Ana Pulido-Rull, Matt D. Saba, Jasmin Badr, Mustafa Tupev, Ünver Rustem, Ethem Eldem and Pierre Siméon.

Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.In this thirtieth-anniversary issue of Muqarnas, various scholars provide their thoughts on the publication’s impact on the field of Islamic art. The volume contains articles on historiographical issues as well as others that emphasize the multicultural expansion of the field. There are also essays on Timurid and Safavid manuscript painting and al-Hariri’s Maqāmāt. Authors include Benjamin Cuddon, Silvia Armando, Ayşin Yoltar-Yıldırım, D. Fairchild Ruggles, Jennifer Pruitt, Peter Christensen, David J. Roxburgh, Abolala Soudavar, and Lale Uluç, with contributions to the “Notes and Sources” section by Serpil Bağcı, Gülru Necipoğlu, and Ebba Koch.

Muqarnas is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.Muqarnas 26 contains articles on a variety of topics that span and transcend the geographic and temporal boundaries that have traditionally defined the history of Islamic art and architecture. Contributors include Robert McChesney, Mattia Guidetti, Marcus Schadl, Christian Gruber, Katia Cytryn-Silverman, Doris Abouseif, Olga Bush, Emine Fetvaci, Moya Carey, Bernard O'Kane, Hadi Maktabi, Nadia Erzini and Stephen Vernoit.