Perspectives On Early Islamic Art In Jerusalem

In Perspectives on Early Islamic Art in Jerusalem, Lawrence Nees analyzes early Islamic monuments on the Haram al-Sharif, or the Temple Mount: the Dome of the Chain, and the capitals with figures of eagles in the Dome of the Rock.

At the end of the seventh century A.D., the Muslims rebuilt the former Temple Mount and created one of the most potent religious sites in the world. The articles in these volumes look at the different aspects of the architecture and the intentions of the builders in establishing this complex.

The Dome of the Rock is a shrine located on the Temple Mount in the Old City of Jerusalem. When was it built? What meanings was it meant to convey to viewers at the time of its construction? These are questions that have preoccupied historians of Islamic art and architecture, and numerous interpretations of the Dome of the Rock have been proposed. Marcus Milwright returns to one of the most important pieces of evidence: the mosaic inscriptions running around the two faces of the octagonal arcade. His detailed examination of the physical characteristics, morphology and content of these inscriptions provides new evidence about the chronology the building and the iconography of the Dome of the Rock.

The Umayyad World encompasses the archaeology, history, art, and architecture of the Umayyad era (644–750 CE). This era was formative both for world history and for the history of Islam. Subjects covered in detail in this collection include regions conquered in Umayyad times, ethnic and religious identity among the conquerors, political thought and culture, administration and the law, art and architecture, the history of religion, pilgrimage and the Qur’an, and violence and rebellion. Close attention is paid to new methods of analysis and interpretation, including source critical studies of the historiography and inter-disciplinary approaches combining literary sources and material evidence. Scholars of Islamic history, archaeologists, and researchers interested in the Umayyad Caliphate, its context, and infl uence on the wider world, will find much to enjoy in this volume.

The art of the object reached unparalleled heights in the medieval Islamic world, yet the intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where pre-modern craftsmen of the eastern Mediterranean and Persianate realms engaged in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Lanterns fashioned after miniature shrines, incense burners in the form of domed monuments, earthenware jars articulated with arches and windows, inkwells that allude to tents: through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abound across media in the portable arts of the medieval Islamic world. Arts of Allusion draws upon a broad range of material evidence as well as medieval texts to locate its subjects in a cultural landscape where the material, visual, and verbal realms were intertwined. Moving far beyond the initial identification of architectural types with their miniature counterparts in the plastic arts, Margaret Graves develops a series of new frameworks for exploring the intelligent art of the allusive object. These address materiality, representation, and perception, and examine contemporary literary and poetic paradigms of metaphor, description, and indirect reference as tools for approaching the plastic arts. Arguing for the role of the intellect in the applied arts and for the communicative potential of ornament, Arts of Allusion asserts the reinstatement of craftsmanship into Islamic intellectual history.

This classic work on the nature of early Islamic art has now been brought up to date in order to take into consideration material that has recently come to light. In a new chapter, Oleg Grabar develops alternate models for the formation of Islamic art, tightens its chronology, and discusses its implications for the contemporary art of the Muslim world. Reviews of the first edition: "Grabar examines the possible ramifications of sociological, economic, historical, psychological, ecological, and archaeological influences upon the art of Islam. . . [He] explains that Islamic art is woven from the threads of an Eastern, Oriental tradition and the hardy, surviving strands of Classical style, and [he] illustrates this web by means of a variety of convincing and well-chosen examples."--Art Bulletin "A book of absorbing interest and immense erudition. . . All Islamic archaeologists and scholars will thank Professor Grabar for a profound and original study of an immense and complex field, which may provoke controversy but must impress by its mastery and charm by its modesty."--Times Literary Supplement "Oleg Grabar, in this book of exceptional subtlety and taste, surveys and extends his own important contributions to the study of early Islamic art history and works out an original and imaginative approach to the elusive and complex problems of understanding Islamic art."--American Historical Review

Early Islamic Art, 650-1100 is the first in a set of four volumes of studies by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century. Each volume takes a particular section of the topic, the three subsequent volumes being entitled: Islamic Visual Culture, 1100-1800; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The present volume concentrates primarily on documents provided by archaeology understood in its widest sense, and including the study of texts with reference to monuments or to the contexts of these monuments. The articles included represent major contributions to the understanding of the formative centuries of Islamic art, focusing on the Umayyad (661-750) and Fatimid (969-1171) dynasties in Greater Syria and in Egypt, and on the Mediterranean or Iranian antecedents of early Islamic art. Historical, cultural, and religious themes, including the role of court ceremonies, the growth of cities, and the importance of the Qur'an, are introduced to help explain how a new art was formed in the central lands of the Near East and how its language can be retrieved from visual or written sources.

Where Heaven and Earth Meet is a Festschrift in honor of Daniel F. Callahan, Professor of History at the University of Delaware. It is an interdisciplinary collection that celebrates and advances research in his principal scholarly interests. One central focus is on the writings of Ademar of Chabannes and what they reveal about heresy, music, warfare, and the Peace of God in the early Middle Ages. Another is on Western religious history (ecclesiastical houses, hagiography, and papal writings), and the collection is rounded out by studies of early Islamic Jerusalem as well as Arabic numismatics. Contributing authors include Professor Callahan’s former classmates, graduate students, colleagues and admirers of his research. The collection will be of interest to researchers in art history, history, musicology, and religion. Contributors are: Bernard S. Bachrach, Daniel F. Callahan, Lawrence G. Duggan, Michael Frassetto, Matthew Gabriele, James Grier, John D. Hosler, Anna Trumbore Jones, Lawrence Nees, Richard R. Ring, Jane T. Schulenburg