Jonathan M. Bloom - Böcker

In its first thousand years—from the revelations to Muhammad in the seventh century to the great Islamic empires of the sixteenth--Islamic civilization flourished. While Europeans suffered through the Dark Ages, Muslims in such cities as Jerusalem, Damascus, Alexandria, Fez, Tunis, Cairo, and Baghdad made remarkable advances in philosophy, science, medicine, literature, and art. This engrossing and accessible book explores the first millennium of Islamic culture, shattering stereotypes and enlightening readers about the events and achievements that have shaped contemporary Islamic civilization.Jonathan Bloom and Sheila Blair examine the rise of Islam, the life of Muhammad, and the Islamic principles of faith. They describe the golden age of the Abbasids, the Mongol invasions, and the great Ottoman, Safavid, and Mughal empires that emerged in their wake. Their narrative, complemented by excerpts of the Koran, poetry, biographies, inscriptions, travel guides, and even a thirteenth-century recipe, concludes with a brief epilogue that takes us to the twenty-first century. Colorfully illustrated, this book is a wonderful introduction to the rich history of a civilization that still radically affects the world.

An authoritative survey situating some of the Western world’s most renowned buildings within a millennium of Islamic historySome of the most outstanding examples of world architecture, such as the Mosque of Córdoba, the ceiling of the Cappella Palatina in Palermo, the Giralda tower in Seville, and the Alhambra Palace in Granada, belong to the Western Islamic tradition. This architectural style flourished for over a thousand years along the southern and western shores of the Mediterranean—between Tunisia and Spain—from the 8th century through the 19th, blending new ideas with local building practices from across the region.  Jonathan M. Bloom’s Architecture of the Islamic West introduces readers to the full scope of this vibrant tradition, presenting both famous and little-known buildings in six countries in North Africa and southern Europe. It is richly illustrated with photographs, specially commissioned architectural plans, and historical documents. The result is a personally guided tour of Islamic architecture led by one of the finest scholars in the field and a powerful testament to Muslim cultural achievement.

Considered by Muslims as the only true art, calligraphy has played a prominent role in Islamic culture since the time of the prophet Muhammad. Exploring this central role of the written word in Islam and how writing practices have evolved and adapted in different historical contexts, this book provides an overview of the enormous impact that writing in Arabic script has had on the visual arts of the Islamic world. Approaching the topic from a number of different perspectives, the essays in this volume include discussions on the relationship between orality and the written word; the materiality of the written word, ranging from the type of paper on which books were written to monumental inscriptions in stone and brick; and the development of Arabic typography and the printed book. Generously illustrated, By the Pen and What They Write is an engaging look at how writing has remained a foundational component of Islamic art throughout fourteen centuries.       Distributed for the Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qatar

In a world where the making and consumption of art is constantly changing, the term "Islamic art" can be hard to define. Through the exploration of a wide array of media—from painting, sculpture, and photography to video and multimedia—an internationally renowned group of scholars, collectors, artists, and curators tackles questions such as whether the art has to come from the Middle East, whether it must have a religious component, and, indeed, whether the work of art must be made by a Muslim. Based on a series of papers presented at the 7th Biennial Hamad bin Khalifa Symposium on Islamic Art in 2017, the essays in this volume grapple with these questions from a range of viewpoints. These texts—including beautiful illustrations of major works by contemporary artists from the Muslim world, including Newsha Tavakolian, Shahzia Sikander, Hassan Hajjaj and Lalla Essaydi—invoke a lively discussion of how the arts of the Islamic lands link the past with the present and the future.Distributed for the Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qatar

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.

Linda Komaroff, long-time curator of the Art of the Middle East at the Los Angeles County Museum of Art (LACMA), has pioneered in the study and exhibition of Islamic art to include contemporary works. Her interests have long focused on the arts of Iran. With this volume her friends and colleagues celebrate her broad scope with essays exploring many new areas. These 13 essays examine different media, including architecture, manuscripts, portable arts and textiles, as well as the contemporary arts of painting, photography, printmaking and video, from the early Islamic period to the present. In addition to traditional approaches to art-historical scholarship, such as textual analysis, connoisseurship, design, technical and material analysis, and archaeology, the contributors take on such newer themes as gift giving, the diaspora of Iranian art, political art, the relationship of the present to the past or vice versa, and the connections between Iranian art and the arts of the West. Some essays also deal with music and dance.

Tracing its origins and development, Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. From early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, this richly illustrated book is a sweeping tour of the minaret's position as the symbol of Islam.