In this sequel to the immensely popular Art and Architecture of
Islam 650-1250, some of the best known masterpieces of Islamic
architecture are studied - the Taj Mahal and the Alhambra for
example - alongside unusual figurative paintings, delicately
wrought crafts and many other jewels. The growing diversity of
styles during this period was due to the demise of an omnipotent
caliph and the rise of regional rulers. The results are richly
illustrated here, alongside a scholarly and well reasoned history.
(Kirkus UK)
Virtually all the masterpieces of Islamic art-the Alhambra, the Taj
Mahal, and the Tahmasp Shahnama-were produced during the period
from the Mongol conquests in the early thirteenth century to the
advent of European colonial rule in the nineteenth. This beautiful
book surveys the architecture and arts of the traditional Islamic
lands during this era. Conceived as a sequel to The Art and
Architecture of Islam: 650-1250, by Richard Ettinghausen and Oleg
Grabar, the book follows the general format of the first volume,
with chronological and regional divisions and architecture treated
separately from the other arts. The authors describe over two
hundred works of Islamic art of this period and also investigate
broader social and economic contexts, considering such topics as
function, patronage, and meaning. They discuss, for example, how
the universal caliphs of the first six centuries gave way to
regional rulers and how, in this new world order, Iranian forms,
techniques, and motifs played a dominant role in the artistic life
of most of the Muslim world; the one exception was the Maghrib, an
area protected from the full brunt of the Mongol invasions, where
traditional models continued to inspire artists and patrons. By the
sixteenth century, say the authors, the eastern Mediterranean under
the Ottomans and the area of northern India under the Mughals had
become more powerful, and the Iranian models of early Ottoman and
Mughal art gradually gave way to distinct regional and imperial
styles. The authors conclude with a provocative essay on the varied
legacies of Islamic art in Europe and the Islamic lands in the
nineteenth and twentieth centuries.
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