Based on the author's thesis (Ph. D.--Hebrew University, Jerusalem, 1996).

The superb early medieval al-Kisa'i whose millenium hidden Kitab 'aja-'ib al-Malakut has been completely uncovered by the editors who have elementarily reconstructed his hitherto unknown biography; having enlightened the real substance of Islamology. That reality is synoptically put his own written opus maius does qualitatively and quantitatively constitute the whole textbook of the earliest Judeo-Muslim authentic erudition following which the current islamology should be updated. Being a polemical compilation its proper edition has required a totally new methodology; within it only a single paradigm is presented here: "interpretive thematical codicology" that combining with the other systems substantializes the comprehensively annotative exclusive edition in its entirety.

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.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

In Relational Iconography Georg Leube engages with the courtly culture of the Qaraquyunlu and Aqquyunlu dynasties (15th century C.E.) as a key episode in Persianate and Islamicate cultural history.

This major reference work covers all aspects of architectural inscriptions in the Muslim world: the artists and their patrons, what inscriptions add to architectural design, what materials were used, what their purpose was and how they infuse buildings with meaning. From Spain to China, and from the Middle Ages to our own lifetime, Islamic architecture and calligraphy are inexorably intertwined. Mosques, dervish lodges, mausolea, libraries, even baths and market places bear masterpieces of calligraphy that rival the most refined of books and scrolls.

Focussing on the Great Mosque of Damascus, this volume discusses the scope and significance of the building campaign undertaken by the Umayyad caliph al-Walid b. ‘Abd al-Malik (86-96/705-15), and its implications for the development of early Islamic visual culture.

This book investigates the history of Arabian sūqs from their pre-Islamic beginnings to the present. Collecting evidence from archaeological ruins, Islamic towns, modern cities, Arabic poetry, philosophical debates, political conflicts, puppet shows and the insights of modern-day market-goers, the book presents new and unforeseen interpretations of the Arabian sūq’s meaning and its transformation through time and place. The finding that such meaning is tied to ancient trade rituals, where temple and market presented a holistic socio-urban unit, re-questions some instrumental assumptions regarding the value of sūq-ness in Arabia’s everyday practices. Such a finding, which locates the fadaā/tareeq duality as a central theme in Arabia’s socio-urban discourse, emphasizes the importance of lived experiences and poetics as key sources for understanding socio-urban phenomena.

This book explores a series of powerful artifacts associated with King Solomon via legendary or extracanonical textual sources. Tracing their cultural resonance throughout history, art historian Allegra Iafrate delivers exciting insights into these objects and interrogates the ways in which magic manifests itself at a material level. Each chapter focuses on a different Solomonic object: a ring used to control demons; a mysterious set of bottles that constrain evil forces; an endless knot or seal with similar properties; the shamir, known for its supernatural ability to cut through stone; and a flying carpet that can bring the sitter anywhere he desires. Taken together, these chapters constitute a study on the reception of the figure of Solomon, but they are also cultural biographies of these magical objects and their inherent aesthetic, morphological, and technical qualities. Thought-provoking and engaging, Iafrate’s study shows how ancient magic artifacts live on in our imagination, in items such as Sauron’s ring of power, Aladdin’s lamp, and the magic carpet. It will appeal to historians of art, religion, folklore, and literature.