Tracing the currents of change that unite the visual and material culture of the Islamic world across space and time The seas have long served as both connective tissue for and barriers between intellectual, social, and artistic traditions. Nowhere is this dual role more evident than within the visual and material cultures of the Islamic world. This remarkable new book brings together an international group of scholars and curators whose contributions address seafaring mobility's profound effect on Islamic art. Their case studies range across the globe and span a period from Islam's 1st century to today. Contributors examine the roles of importation and migration, travel, diplomacy, and gift giving in driving artistic innovation and changing the social, political, and religious institutions of an increasingly diverse Islamic world. Taken together, these chapters embody a distinctive big-picture approach, pulling an exceptional diversity of voices and topics into productive dialogue.

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.

Secrets in all their variety permeated early modern Europe, from the whispers of ambassadors at court to the emphatically publicized books of home remedies that flew from presses and booksellers’ shops. This interdisciplinary volume draws on approaches from art history and cultural studies to investigate the manifestations of secrecy in printed books and drawings, staircases and narrative paintings, ecclesiastical furnishings and engravers’ tools. Topics include how patrons of art and architecture deployed secrets to construct meanings and distinguish audiences, and how artists and patrons manipulated the content and display of the subject matter of artworks to create an aura of exclusive access and privilege. Essays examine the ways in which popes and princes skillfully deployed secrets in works of art to maximize social control, and how artists, printers, and folk healers promoted their wares through the impression of valuable, mysterious knowledge. The authors contributing to the volume represent both established authorities in their field as well as emerging voices. This volume will have wide appeal for historians, art historians, and literary scholars, introducing readers to a fascinating and often unexplored component of early modern culture.

In 1482 Francesco Berlinghieri produced the Geographia, a book of over 100 folio leaves describing the world in Italian verse interleaved with lavishly engraved maps. Roberts demonstrates that the Geographia represents the moment of transition between printing and manuscript culture, while forming a critical base for the rise of modern cartography.

Considered by Muslims as the only true art, calligraphy has played a prominent role in Islamic culture since the time of the prophet Muhammad. Exploring this central role of the written word in Islam and how writing practices have evolved and adapted in different historical contexts, this book provides an overview of the enormous impact that writing in Arabic script has had on the visual arts of the Islamic world. Approaching the topic from a number of different perspectives, the essays in this volume include discussions on the relationship between orality and the written word; the materiality of the written word, ranging from the type of paper on which books were written to monumental inscriptions in stone and brick; and the development of Arabic typography and the printed book. Generously illustrated, By the Pen and What They Write is an engaging look at how writing has remained a foundational component of Islamic art throughout fourteen centuries. Distributed for the Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qatar

Introduction: the Islamic State -- Caliphate -- Administration -- Revenue -- Religion -- Women, and children too -- Christians and Jews and ... -- Apocalypse now -- Conclusion

Examining the complex and pivotal case of Turkey, this fascinating ontology of this country's protean imagining of its nationhood and the construction of a modern national-territorial consciousness traces its cultural and religious evolution.

In this wide-ranging history of the African diaspora and slavery in Arabia in the nineteenth and early twentieth centuries, Matthew S. Hopper examines the interconnected themes of enslavement, globalization, and empire and challenges previously held conventions regarding Middle Eastern slavery and British imperialism. Whereas conventional historiography regards the Indian Ocean slave trade as fundamentally different from its Atlantic counterpart, Hopper’s study argues that both systems were influenced by global economic forces. The author goes on to dispute the triumphalist antislavery narrative that attributes the end of the slave trade between East Africa and the Persian Gulf to the efforts of the British Royal Navy, arguing instead that Great Britain allowed the inhuman practice to continue because it was vital to the Gulf economy and therefore vital to British interests in the region. Hopper’s book links the personal stories of enslaved Africans to the impersonal global commodity chains their labor enabled, demonstrating how the growing demand for workers created by a global demand for Persian Gulf products compelled the enslavement of these people and their transportation to eastern Arabia. His provocative and deeply researched history fills a salient gap in the literature on the African diaspora.

Between the twelfth and sixteenth centuries, a distinct form of Islamic thought and practice developed among Muslim trading communities of the Indian Ocean. Sebastian R. Prange argues that this 'Monsoon Islam' was shaped by merchants not sultans, forged by commercial imperatives rather than in battle, and defined by the reality of Muslims living within non-Muslim societies. Focusing on India's Malabar Coast, the much-fabled 'land of pepper', Prange provides a case study of how Monsoon Islam developed in response to concrete economic, socio-religious, and political challenges. Because communities of Muslim merchants across the Indian Ocean were part of shared commercial, scholarly, and political networks, developments on the Malabar Coast illustrate a broader, trans-oceanic history of the evolution of Islam across monsoon Asia. This history is told through four spaces that are examined in their physical manifestations as well as symbolic meanings: the Port, the Mosque, the Palace, and the Sea.

This endlessly informative history brings the classical Islamic world to lifeIn this accessibly written history, Amira K. Bennison contradicts the common assumption that Islam somehow interrupted the smooth flow of Western civilization from its Graeco-Roman origins to its more recent European and American manifestations. Instead, she places Islamic civilization in the longer trajectory of Mediterranean civilizations and sees the ‘Abbasid Empire (750–1258 CE) as the inheritor and interpreter of Graeco-Roman traditions.At its zenith the ‘Abbasid caliphate stretched over the entire Middle East and part of North Africa, and influenced Islamic regimes as far west as Spain. Bennison’s examination of the politics, society, and culture of the ‘Abbasid period presents a picture of a society that nurtured many of the “civilized” values that Western civilization claims to represent, albeit in different premodern forms: from urban planning and international trade networks to religious pluralism and academic research. Bennison’s argument counters the common Western view of Muslim culture as alien and offers a new perspective on the relationship between Western and Islamic cultures.