Cairo is full of masterpieces of medieval art and architecture reflecting the status of Egypt as the centre of several significant Muslim empires. This book redresses the cultural balance and examines the art and architectural treasures of Cairo from the Arab to the Ottoman conquests (642-1517). It is fully illustrated with over 200 photographs.

Emile Prisse d'Avennes (1807-79) spent a total of nineteen years in Egypt, traveling throughout the country to collect the stunning images that he later published in Paris in two collections, Atlas de l'histoire de l'art egyptien and L' Art arabe. It is the illustrations from the latter that make up this volume. Prisse's masterly renderings of Cairo's mosques and their decorations more than retain their impact today: they still have the power to amaze and delight, while at the same time carrying valuable historical and artistic information for specialists studying Islamic art and architecture.

For architecture or history students or interested travellers, presents descriptions, histories, photographs, plans, and drawings of detail for buildings erected in the Egyptian capital from the earliest Islamic through the Ottoman periods. References to the Survey Map of the Islamic Monuments of Cairo aid readers in finding the buildings. A reprint of the 1989 publication. No index. Annotation copyrighted by Book News, Inc., Portland, OR

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.

Europeans are in denial. Against a backdrop of Islamophobia, they are increasingly distancing themselves from their cultural debt to the Muslim world. But while the legacy of Islam and the Middle East is in danger of being airbrushed out of Western history, its traces can still be detected in some of Europe's most recognisable monuments, from Notre-Dame to St Paul's Cathedral. In this comprehensively illustrated book, Diana Darke sets out to redress the balance, revealing the Arab and Islamic roots of Europe's architectural heritage. She tracks the transmission of key innovations from the great capitals of Islam's early empires, Damascus and Baghdad, via Muslim Spain and Sicily into Europe. Medieval crusaders, pilgrims and merchants from Europe later encountered Arab Muslim culture in journeys to the Holy Land. In more recent centuries, that same route through modern-day Turkey connected Ottoman culture with the West, leading Sir Christopher Wren himself to believe that Gothic architecture should more rightly be called 'the Saracen style', because of its Islamic origins. Recovering this overlooked story within the West's long history of borrowing from the Islamic world, Darke sheds new light on Europe's buildings and offers rich insights into the possibilities of cultural exchange.

The city of a thousand minarets is also the city of eclectic modern constructions, turn-of-the-century revivalism and romanticism, concrete expressionism, and modernist design. Yet while much has been published on Cairo's ancient, medieval, and early-modern architectural heritage, the city's modern architecture has to date not received the attention it deserves. Cairo since 1900: An Architectural Guide is the first comprehensive architectural guide to the constructions that have shaped and continue to shape the Egyptian capital since the early twentieth century. From the sleek apartment tower for Inji Zada in Ghamra designed by Antoine Selim Nahas in 1937, to the city's many examples of experimental church architecture, and visible landmarks such as the Mugamma and Arab League buildings, Cairo is home to a rich store of modernist building styles. Arranged by geographical area, the guide includes entries for more than 220 buildings and sites of note, each entry consisting of concise, explanatory text describing the building and its significance accompanied by photographs, drawings, and maps. This pocket-sized volume is an ideal companion for the city's visitors and residents as well as an invaluable resource for scholars and students of Cairo's architecture and urban history.

Oleg Grabar, On Catalogues, Exhibitions, and Complete Works ;Jonathan M. Bloom, The Mosque of the Qarafa in Cairo ;Leonor Fernandes, The Foundation of Baybars al-Jashankir: Its Waqf, History, and Architecture ;Howard Crane, Some Archaeological Notes on Turkish Sardis ;Nancy Shatzman Steinhardt, Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period ;Do gan Kuban, The Style of Sinan's Domed Structures ;Yasser Tabbaa, Bronze Shapes in Iranian Ceramics of the Twelfth and Thirteenth Centuries ;Mehrdad Shokoohy and Natalie H. Shokoohy, The Architecture of Baha al-Din Tughrul in the Region of Bayana, Rajasthan ;Glenn D. Lowry, Humayun's Tomb: Form, Function, and Meaning in Early Mughal Architecture ;Peter Alford Andrews, The Generous Heart or the Mass of Clouds: The Court Tents of Shah Jahan ;Priscilla P. Soucek, Persian Artists in Mughal India: Influences and Transformations ;A.J. Lee, Islamic Star Patterns ;

Previous work with same title published in 1984 with far smaller scope and less attention to architecture.