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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.
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.
Embroideries from the Greek islands dazzle with their bright
colours and charming motifs. This publication reveals little-known
pieces from the Ashmolean Museum at the University of Oxford, newly
photographed and published here for the first time. The
embroideries include fragments of pillowcases, bed valances, tents
and curtains, as well as items of dress. As with all collections of
textiles, the story of the Ashmolean holdings is chiefly about
their makers and their ingenuity. Once forming the bulk of bridal
trousseaux, Greek embroidered textiles were produced and maintained
by young and old women for themselves and the house using locally
produced materials. A mark of their worth and a platform for
self-expression, embroidered textiles also helped Greek women to
negotiate their place in the community, signalling status and
affiliation.
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