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Author: Roland Michaud Publisher: ISBN: Category : Architecture Languages : en Pages : 324
Book Description
Michael Barry's text draws on a wealth of historical, technical and iconographic information to illuminate the history and meaning of these remarkable decorations.
Author: Roland Michaud Publisher: ISBN: Category : Architecture Languages : en Pages : 324
Book Description
Michael Barry's text draws on a wealth of historical, technical and iconographic information to illuminate the history and meaning of these remarkable decorations.
Author: Roland Michaud Publisher: ISBN: 9780500017111 Category : Architecture, Islamic Languages : en Pages : 315
Book Description
A collection of photographs of the tiled domes, minarets and walls of the mosques and buildings of Islamic Asia. The tiles bear the seven colours of heaven: ochre, turquoise, white, black, green, red and blue.
Author: Idries Trevathan Publisher: Saqi Books ISBN: 086356190X Category : Art Languages : en Pages : 292
Book Description
A unique investigation into the aesthetics of colour in Islamic art revealing its deeper symbolic and mystical meanings. The experience of colour in Islamic visual culture has historically been overlooked. In this new approach, Idries Trevathan examines the language of colour in Islamic art and architecture in dialogue with its aesthetic contexts, offering insights into the pre-modern Muslim experience of interpreting colour. The seventeenth-century Shah Mosque in Isfahan, Iran, represents one of the finest examples of colour-use on a grand scale. Here, Trevathan examines the philosophical and mystical traditions that formed the mosque's backdrop. He shows how careful combinations of colour and design proportions in Islamic patterns expresses knowledge beyond that experienced in the corporeal world, offering another language with which to know and experience God. Colour thus becomes a spiritual language, calling for a re-consideration of how we read Islamic aesthetics.
Author: Chloë N. Duckworth Publisher: Routledge ISBN: 1351682962 Category : Art Languages : en Pages : 302
Book Description
The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour’s iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today’s world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.
Author: Jonathan Bloom Publisher: Oxford University Press ISBN: 019530991X Category : Architecture Languages : en Pages : 1697
Book Description
The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art.
Author: Eric Broug Publisher: ISBN: 9780500516959 Category : Art Languages : en Pages : 0
Book Description
Combines wide-ranging research with the author's artistic skills to reveal the techniques used to create the patterns adorning buildings in the Islamic world
Author: Imane M. Sadek Omar Abaza Publisher: ISBN: Category : Color drawing Languages : en Pages : 174
Book Description
Abstract: Light plays a central role in the Quran. The contrast between light and dark demonstrates a pivotal conception in the Islamic faith. It is the difference between knowledge and ignorance, faith and infidelity, and right and wrong. As depicted by al-Ghazali, God is the source of the ultimate light, and by seeing that light a person reaches a state of revelation since only the faithful see that light. The ignorant or unfaithful live in darkness without the light of God or faith to guide them through life. Considering the importance of this concept in the Islamic faith, colors as the depiction of this light in different states must be considered as equally important. Muslims across the centuries dedicated a great deal of attention to colors, manifested in their glorious repertoire of architectural marvels. The same attention can be observed in works of art. Although the use of colors is a topic many scholars paid some attention to, it should be visited from a different angle. Usually colors are mentioned in a purely aesthetic or descriptive context to depict the range of artistic decoration in a work of art. Some scholars talk about colors in terms of availability of resources or from a utilitarian point of view. Articles or books that discuss color symbolism in Islamic art are rare. Many believe that the use of color was indeed a practical function of beautifying buildings or objects, but perhaps it was neglected based solely on misconception. Nasr in Islamic Art and Spirituality discussed the assumption that every artistic creation had a meaning and a purpose. "The creation of this artistic universe with its particular genius, distinct characteristics, and formal homogeneity underlying distinctions of a cultural, geographical or temporal nature requires a cause, for no effect of such immense dimensions can be considered as simply a result of chance or the agglomeration of accidental historical factors." Art historians and critics, in their pursuit to study and understand Islamic art, covered the iconographic, aesthetic, historical, economic and political aspects but very few considered color symbolism as an important factor. Color was treated from an aesthetic point of view (i.e. as a decorative tool). The pigments, hues and quality of the color were always discussed under the decorative repertoire of the object of study. The meaning behind the chosen colors was rarely mentioned. According to Bloom and Blair, the lack of colored representation of architectural and decorative features in published books on Islamic painting directed the focus of many studies to form and design rather than color. Black and white illustrations were the norm in earlier publications and unless one gets the privilege of seeing the art object first hand, the variety and complexity of the colors used would not be grasped. In the study of book painting, the lack of colored plates in published articles and books might have led the focus of researchers to the composition of the paintings and the shading rather than the study of color, which diminished the value of the artwork in terms of artistic appreciation. Reading about color in a description does not have the same effect as seeing it. The trigger of emotional responses is achieved by direct exposure to color. The aim of this study is to analyze color symbolism in Islamic book paintings in order to attribute the colors employed to religious, cultural or spiritual notions in Islamic tradition. It is an attempt to interpret color in relation to the Islamic doctrine with its mystical elements. This thesis will be based on theoretical analysis of primary sources such as Quran, hadith and Sufi writings, and their practical interpretation in book paintings. The metaphorical use of color in Islamic poetry and Sufi treaties has been long established, hence relying on these literary sources constitutes a logical starting point. The interpretation of the paintings will be primarily based on the following texts: Nizami's Hayft Paykar, different account of the mi'raj, hadiths, and studies of Muslim Scholars such as al-Ghazali, Ibn Arabi and Ibn Sina among others. Another important source of information for this study is the recent research by scholars such as Soucek, Schimmel, Cross, Blair and Bloom. They have contributed to the study of color symbolism in Islamic Art and their research has brought this field of study into the spotlight. Chapter one focuses on a study of the primary sources discussed earlier in relation to color symbolism. Chapter two examines the meaning of color in the Islamic tradition with reference to the different color theories developed by Muslim and contemporary scholars. Chapters three to five analyze Islamic book paintings in light of the Quran, hadith and Sufi writings. The focus will be on some selected paintings revolving around three main themes; the mi'raj, Haft Paykar and Majnun and Layla; chapter three discusses the mi'raj theme and prophetic depiction in book painting, chapter four explores the color symbolism in the tales of the seven pavilions in Nizami's Haft Paykar. Chapter five examines the depiction of Qays or Majnun in different manuscripts. Interpreting the religious, poetic and fictional type of narrative in relation to book paintings will shed some light on the importance of color symbolism in Islamic art in general and not only limited to Sufi themed paintings. The manuscripts chosen varies in their area of production from Iran and Central Asia to Turkey and Baghdad. The variation of the geographical location of the paintings are considered strong supporting evidence in the presence of color symbolism in Islamic art. Of course the main focus would be on Persian manuscripts since manuscripts production reached its peak in that geographical location coupled with the time constrains of not being able to display the entire selection of my research.
Author: Henri Stierlin Publisher: ISBN: 9780500511008 Category : Architecture Languages : en Pages : 319
Book Description
More than five hundred full-color illustrations and reproductions capture a panoramic array of Islamic art and architecture in a study that examines the sources, forms, themes, and symbolism of Islamic artistry, as exemplified in mosques, palaces, landscape architecture, caligraphy, miniature painting, tapestries and textiles, and other artforms.
Author: Gülru Necipoğlu Publisher: Getty Publications ISBN: 0892363355 Category : Art Languages : en Pages : 414
Book Description
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
Author: Roland Michaud
Author: Roland Michaud
Author: Roland Michaud
Author: Idries Trevathan
Author: Chloë N. Duckworth
Author: Khursheed Kamal Aziz
Author: Jonathan Bloom
Author: Eric Broug
Author: Imane M. Sadek Omar Abaza
Author: Henri Stierlin
Author: Gülru Necipoğlu