This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.

Considered by Muslims as the only true art, calligraphy has played a prominent role in Islamic culture since the time of the prophet Muhammad. Exploring this central role of the written word in Islam and how writing practices have evolved and adapted in different historical contexts, this book provides an overview of the enormous impact that writing in Arabic script has had on the visual arts of the Islamic world. Approaching the topic from a number of different perspectives, the essays in this volume include discussions on the relationship between orality and the written word; the materiality of the written word, ranging from the type of paper on which books were written to monumental inscriptions in stone and brick; and the development of Arabic typography and the printed book. Generously illustrated, By the Pen and What They Write is an engaging look at how writing has remained a foundational component of Islamic art throughout fourteen centuries. Distributed for the Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qatar

"Islamic art" can be a challenging term in an ever-changing art world. Through the exploration of a wide array of media-from painting, sculpture, and photography to video and multimedia-an internationally renowned group of scholars, collectors, artists, and curators tackles questions such as whether the art has to come from the Middle East, whether it must have a religious component, and, indeed, whether the work of art must be made by a Muslim. Based on a series of papers presented at the 7th Biennial Hamad bin Khalifa Symposium on Islamic Art in 2017, the essays in this volume grapple with these questions from a range of viewpoints. Taken together, these texts, including beautiful illustrations of major works by contemporary artists from the Muslim world, invoke a lively discussion of how the arts of the Islamic lands link the past with the present and the future.

Tracing its origins and development, Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. From early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, this richly illustrated book is a sweeping tour of the minaret's position as the symbol of Islam.

In its first thousand years -- from the revelations to Muhammad in the seventh century to the great Islamic empires of the sixteenth -- Islamic civilization flourished. While Europeans suffered through the Dark Ages, Muslims in such cities as Jerusalem, Damascus, Alexandria, Fez, Tunis, Cairo, and Baghdad made remarkable advances in philosophy, science, medicine, literature, and art. This engrossing and accessible book explores the first millennium of Islamic culture, shattering stereotypes and enlightening readers about the events and achievements that have shaped contemporary Islamic civilization.

Jonathan Bloom and Sheila Blair examine the rise of Islam, the life of Muhammad, and the Islamic principles of faith. They describe the golden age of the Abbasids, the Mongol invasions, and the great Ottoman, Safavid, and Mughal empires that emerged in their wake. Their narrative, complemented by excerpts of the Koran, poetry, biographies, inscriptions, travel guides, and even a thirteenth-century recipe, concludes with a brief epilogue that takes us to the twentieth century. Colorfully illustrated, this book is a wonderful introduction to the rich history of a civilization that still radically affects the world.

How similar are humans to the non-human universe? Many people believe that there are obvious similarities between humans and some non-human animals, however, the similarities between humans and things such as trees and stones are less obvious. This has led to the conceptualisation of trees and stones as 'physical' stuff or 'mere matter', whereas humans contain feeling states such as the feeling of pain and the feeling of elation. In this book Jonathan Bloom outlines the case for believing that feelings pervade not only humans but that they pervade the entire non-human universe too.

An authoritative survey situating some of the Western world's most renowned buildings within a millennium of Islamic history Some of the most outstanding examples of world architecture, such as the Mosque of Cordoba, the ceiling of the Cappella Palatina in Palermo, the Giralda tower in Seville, and the Alhambra Palace in Granada, belong to the Western Islamic tradition. This architectural style flourished for over a thousand years along the southern and western shores of the Mediterranean-between Tunisia and Spain-from the 8th century through the 19th, blending new ideas with local building practices from across the region. Jonathan M. Bloom's Architecture of the Islamic West introduces readers to the full scope of this vibrant tradition, presenting both famous and little-known buildings in six countries in North Africa and southern Europe. It is richly illustrated with photographs, specially commissioned architectural plans, and historical documents. The result is a personally guided tour of Islamic architecture led by one of the finest scholars in the field and a powerful testament to Muslim cultural achievement.

In the years following the revelations of the Prophet Muhammad in the early seventh century AD, the new religion of Islam spread rapidly through Arabia to North Africa and Spain in the west and Cental Asia and India in the east. Through the following 1000 years, artists and craftsmen in the areas influenced by Islam produced some of the world's most beautiful works of art: from the Albrahmra to the Taj Mahal, from illuminated copies of the Koran to exquisite decorative arts: ceramics, textiles and metalwork.

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.