This book is the first to examine the complete history of balsam from ancient times to the seventeenth century. It also surveys the evidence for the symbolic value and practical applications of the product in the Middle East, North Africa and Europe.Using written sources, visual data and archaeological material, Marcus Milwright reconstructs the fascinating history of the balsam tree from Jericho and En-Gedi to Egypt. He also establishes links with resin-producing trees from the Arabian Peninsula and the Horn of Africa. Chapters address the symbolic associations of balsam and the site of Matarea (where the last balsam tree died in 1615), the distribution of products from the tree through trade and diplomacy, and the applications of these products in medicine, ritual and the domestic environment. The Queen of Sheba's Gift is an exploration of the complex socio-cultural factors that contributed to the sense of value accorded to rare commodities.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

Islamic art is justly famed for its technological sophistication, varied approaches to ornament, and innovative employment of the written word. But what do we know about the skilled artisans who spent their lives designing and creating the paintings, objects and buildings that are so admired today? This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts. You will learn about: the legal and ethical dimensions of the arts and crafts, the organisation of labour in urban and rural contexts, the everyday lives of artisans, the gendered dimensions of making things, and the impact of industrialisation upon traditional methods of manufacture. Each chapter begins with an introduction providing a wider context for the primary sources. There are also suggestions for further reading.

When was the Dome of the Rock built and what meanings was the structure 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. This book returns to one of the most important pieces of evidence: the mosaic inscriptions running around the two faces of the octagonal arcade. Detailed examination of the physical characteristics, morphology and content of these inscriptions provides new evidence concerning: the chronology of the planning, construction, and decoration of the building; the iconography of the Dome of the Rock; the evolution of Arabic epigraphy in the early Islamic period; and the public expression of religious concepts under the Umayyad caliphs.

Canada has seen the study of Islamic art and archeology grow steadily over the last five decades, with growth in research and teaching across numerous Canadian universities as well as important collections of Islamic art and archaeological materials, most notably at the Royal Ontario Museum and the Aga Khan Museum. Made for the Eye of One Who Sees uncovers the contributions of scholars and museum curators at Canadian institutions to current scholarship on Islamic art. Employing a wide range of approaches and theoretical perspectives, contributors cover topics from across the Islamic world dating from the eighth century to the present. Subjects include the iconography of architectural design and decoration, the role of Qur'anic inscriptions, the representation of symbolic animals in sculpture, and the interpretation of Persian manuscript painting. The book also juxtaposes modern and contemporary worlds, providing insightful reflections on the early history of the Islamic collections at the Royal Ontario Museum, Matisse's creative encounter with Byzantine and Islamic visual culture, and the ongoing dialogue between new media and the traditional concepts underpinning Islamic art. Bringing together recent scholarship on Islamic art, architecture, and archaeology, Made for the Eye of One Who Sees provides an overview of the important contributions Canada is making to this rich and evolving field of study.

This book offers an introduction to the archaeology of the Islamic world. It traces the history of the discipline from its earliest manifestations through to the present and evaluates the contribution made by archaeology to the understanding of key aspects of Islamic culture. The author argues that it is essential for the results of archaeological research to be more fully integrated into the wider historical study of the Islamic world. Organising the book into broad themes allows a focus on issues that are relevant across different regions and periods. Short case studies are included to allow the reader to examine the ways in which archaeologists collect and interpret material in specific contexts. The emphasis is on archaeological work conducted in the area stretching from Afghanistan and the Central Asian republics in the east to Spain in the west. Comparisons are also be drawn with Islamic regions of sub-Saharan Africa and the Indian subcontinent, reflecting the main focus of archaeological work in the Islamic world to the present day.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

Islamic art is justly famed for its technological sophistication, varied approaches to ornament, and innovative employment of the written word. But what do we know about the skilled artisans who spent their lives designing and creating the paintings, objects and buildings that are so admired today? This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts. Readers will learn about: the legal and ethical dimensions of the arts and crafts, the organisation of labour in urban and rural contexts, the everyday lives of artisans, the gendered dimensions of making things, and the impact of industrialisation upon traditional methods of manufacture. Each chapter begins with an introduction providing a wider context for the primary sources. There are also suggestions for further reading.