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Deconstructing the Myths of Islamic Art addresses how researchers
can challenge stereotypical notions of Islam and Islamic art while
avoiding the creation of new myths and the encouragement of
nationalistic and ethnic attitudes. Despite its Orientalist
origins, the field of Islamic art has continued to evolve and shape
our understanding of the various civilizations of Europe, Africa,
Asia, and the Middle East. Situated in this field, this book
addresses how universities, museums, and other educational
institutions can continue to challenge stereotypical or homogeneous
notions of Islam and Islamic art. It reviews subtle and overt
mythologies through scholarly research, museum collections and
exhibitions, classroom perspectives, and artists’ initiatives.
This collaborative volume addresses a conspicuous and persistent
gap in the literature, which can only be filled by recognizing and
resolving persistent myths regarding Islamic art from diverse
academic and professional perspectives. The book will be of
interest to scholars working in art history, museum studies, visual
culture, and Middle Eastern studies.
Deconstructing the Myths of Islamic Art addresses how researchers
can challenge stereotypical notions of Islam and Islamic art while
avoiding the creation of new myths and the encouragement of
nationalistic and ethnic attitudes. Despite its Orientalist
origins, the field of Islamic art has continued to evolve and shape
our understanding of the various civilizations of Europe, Africa,
Asia, and the Middle East. Situated in this field, this book
addresses how universities, museums, and other educational
institutions can continue to challenge stereotypical or homogeneous
notions of Islam and Islamic art. It reviews subtle and overt
mythologies through scholarly research, museum collections and
exhibitions, classroom perspectives, and artists' initiatives. This
collaborative volume addresses a conspicuous and persistent gap in
the literature, which can only be filled by recognizing and
resolving persistent myths regarding Islamic art from diverse
academic and professional perspectives. The book will be of
interest to scholars working in art history, museum studies, visual
culture, and Middle Eastern studies.
Emerging Scholarship on the Middle East and Central Asia: Moving
from the Periphery provides fresh analysis and cutting-edge
critique of phenomena and events across the region. Working out of
diverse disciplinary traditions, the authors call on varied
theoretical frameworks in order to challenge entrenched stereotypes
and long-standing perspectives. This volume explores emerging
directions in scholarship across a range of issues, including: the
Gulf; Saudi strategizing; Afghan refugees in the Islamic Republic
of Iran; contemporary Turkish politics; the current Syrian
conflict; Middle Eastern and Central Asian art; perceptions of
security threats from Afghanistan; and the potential future role of
China in the region. The authors in this volume have given
wide-berth to dominant approaches to scholarship on the region,
while grappling with overlooked issues and marginal populations in
order to advance new frameworks. On the Periphery deserves a
central place in future scholarly engagement with the Middle East
and Central Asia.
In the crowded center of Historic Cairo lies a covered market lined
with wonderful textiles sewn by hand in brilliant colors and
intricate patterns. This is the Street of the Tentmakers, the home
of the Egyptian applique art known as 'khayamiya.' The Tentmakers
of Cairo brings together the stories of the tentmakers and their
extraordinary tents-from the huge tent pavilions, or suradiq, of
the streets of Egypt, to the souvenirs of the First World War and
textile artworks celebrated by quilters around the world. It traces
the origins and aesthetics of the khayamiya textiles that enlivened
the ceremonial tents of the Fatimid, Mamluk, and Ottoman dynasties,
exploring the ways in which they challenged conventions under new
patrons and technologies, inspired the paper cut-outs of Henri
Matisse, and continue to preserve a legacy of skilled handcraft in
an age of relentless mass production. Drawing on historical
literature, interviews with tentmakers, and analysis of khayamiya
from around the world, the authors reveal the stories of this
unique and spectacular Egyptian textile art.
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