Eros And Sexuality In Islamic Art

"Dedicated to the topics of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume sheds light on the diverse socio-cultural milieus of erotic images, on the range of motivations that determined their production, and on the responses generated by their circulation. The articles revise what has been accepted as a truism in existing literature-that erotic motifs in the Islamic visual arts should be read metaphorically-offering, as an alternative, rigorous contextual and cultural analyses. Among the subjects discussed are male and female figures as sexualized objects; the spiritual dimensions of eroticism; licit versus illicit sexual practices; and the exotic and erotic ?others? as a source of sensual delight. As the first systematic study on these themes in the field of Islamic art history, this volume fills a considerable gap and contributes to the lively debates on the nature and function of erotic and sexual images that have featured prominently in broader art-historical discussions in recent decades."--Provided by publisher.

Dedicated to the topic of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume offers new insights and methodological models that extend our understanding of erotic and sexual subjects in the Islamic tradition. The essays shed light on the diverse socio-cultural milieus of erotic images, on the motivations underlying their production, and on the responses generated by their circulation.

An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music.

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)

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

Volume I offers historiographical surveys and general overviews of central topics in the history of world sexualities. Split across twenty-two chapters, this volume places the history of sexuality in dialogue with anthropology, women's history, LGBTQ+ history, queer theory, and public history, as well as examining the impact Freud and Foucault have had on the history of sexuality. The volume continues by providing overviews on the sexual body, family and marriage, the intersections of sexuality with race and class, male and female homoerotic relations, trans and gender variant sexuality, the sale of sex, sexual violence, sexual science, sexuality and emotion, erotic art and literature, and the material culture of sexuality.

An examination of the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia.

Lyombe Eko carries out an historical and cultural survey of the regulation of visual depictions of explicit human sexual conduct from their earliest appearance on the clay tablets of the valley of the Tigris and Euphrates rivers in ancient Mesopotamia, to the tablet computers of Silicon Valley. The Regulation of Sex-Themed Visual Imagery analyzes the contemporary problem of the applicability of the human right of freedom of expression to explicit imagery in the face of societal interests in the regulation of representations of human sexuality. This book will be of interest to scholars, students, and broad audiences interested in comparative studies in pornography regulation, the history of pornography, the law of pornography and obscenity, and visual culture and history alike.