Earthly Beauty Heavenly Art

This volume presents a fine range of Islamic art drawn from collections around the world, including calligraphy, glasswork, fabrics, religious and secular artifacts.

The scholarly search on the art of the object is of enduring interest and enjoys a new renaissance in the last few years. This book mainly explores the art and craft of Islamic artefacts and presents to the reader a diverse range of approaches. Despite this variety, in which also artefacts of the pre-Islamic, period as well as 'orientalized' European artefacts of the modern era are included, there is an overarching theme - the linking of the interpretation of objects and their specific aesthetics to textual sources and the aim of setting them in historical and artistic context. In this impressive collection honouring the German scholar of Islamic art Jens Kroger on his 65th birthday, Avinoam Shalem and Annette Hagedorn bring together contributions from a highly distinguished group of scholars of Asiatic, Sasanian, Islamic as well as European art history. Unpublished artefacts and new interpretations are presented in this book.

This work aims to distill the findings of a wide variety of scholarly disciplines into a coherent narrative of the Qur’ān’s history, from the first oral recitation to the four published Variants in active circulation today. In the process of unraveling the complicated relationships between the oral Qur’ān and the written Qur’ān, it becomes clear that there are, in fact, two histories of the Qur’ān and that the overall history of the Qur’ān cannot be appreciated without understanding the interactions between these two occasionally intertwined but often independent component histories. Discrepancies between the four qur’ānic Variants that are in active use today are indexed and analyzed. While most scholarship views the Qur’ān either in relation to its past and its possible origins, or in relation to its contemporary status as a static, fixed text, this work adopts an organic, developmental approach recognizing that the Qur’ān is a living text that continues to evolve.

Among the magnificent gems and jewels left behind by the great Islamic empires, emeralds stand out for their size and prominence. For the Mughals, Ottomans, and Safavids green was—as it remains for all Muslims—the color of Paradise, reserved for the Prophet Muhammad and his descendants. Tapping a wide range of sources, Kris Lane traces the complex web of global trading networks that funneled emeralds from backland South America to populous Asian capitals between the sixteenth and the eighteenth centuries. Lane reveals the bloody conquest wars and forced labor regimes that accompanied their production. It is a story of trade, but also of transformations—how members of profoundly different societies at opposite ends of the globe assigned value to a few thousand pounds of imperfectly shiny green rocks.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

Why is something a masterpiece? Art History 101 . . . Without the Exams is about revisiting famous works of art that we may have studied in an art history class or seen in a textbook. Each discussion delves into one great masterpiece and asks the questions that help us understand how it has shaped history. What is the piece about? How did the original owner look at this piece? Where was it originally placed? Why is it in this museum now? How did it get famous? From the sixth-century mosaics of Ravenna and the painted bulls of Altamira, Spain, dated 12,500 BCE, to an incense burner from twelfth-century Seljuk Iran, frescoes from a Late Byzantine funerary chapel, and masterworks by Botticelli, Caravaggio, Monet, and Sargent, this book shows readers how to look closely. It welcomes us to the joy of art history—but without the papers, notes, and exams.

These essays are the revised and updated version of four lectures given in the Yarshater Lecture Series, at SOAS in London in 2013. They concern some aspects of the arts from pre-modern Iran and India, namely, the “making of” of Persian illustrated manuscripts, the iconography of Kashan wares, the use and re-use of luster tiles in Ilkhanid Iran, and the glazed tiles made in three Indian sultanates (Delhi, Bengal and Malwa). These four topics share concepts of influence and impact, although inflected on different modes. The productions they embody represent many poles of influence, even if working on different scales, from the extensive diffusion of products, techniques, and systems to almost isolated productions.