Frontmatter -- Contents -- List of Figures -- The Contributors -- Series Editor’s Foreword -- Preface and Acknowledgements -- INTRODUCTION -- CHAPTER 1 Old Mosques: Destroyed, Lost and Transformed in Twentieth- and Twenty-first-century India -- CHAPTER 2 The ‘Arraf Mosque in Dhu Jibla -- CHAPTER 3 Monumentality en Miniature: On Two Domeshaped Carpet Weights – mir-i farsh -- CHAPTER 4 ‘The View from Above’: Muslim Perceptions of the Turks of Syria and the Jazira in the Period 1070 to 1176 -- CHAPTER 5 The Multiple Faces of Restoration in the Medieval Islamic Architecture of Central Asia -- CHAPTER 6 A Damascus Room in Los Angeles -- CHAPTER 7 Rubbish, Recycling and Repair: Perspectives on the Portable Arts of the Islamic Middle East -- CHAPTER 8 A Copper-alloy Plate with Architectural Imagery in Berlin . . . and Jerusalem? -- CHAPTER 9 Looking Inside the Book: Doublures of the Mamluk Period -- CHAPTER 10 Taj al-Din ‘Alishah: The Reconstruction of his Mosque Complex at Tabriz -- CHAPTER 11 Once More Cosmophilia: Facing the Truth, Later -- CHAPTER 12 The Making, Unmaking and Making Sense of an Illustration from an Imperial Mughal Akbarnama -- CHAPTER 13 The Use of Metals in Islamic Manuscripts -- CHAPTER 14 Telling Stories: Artists’ Books in the Collection of the British Museum -- CHAPTER 15 The Freer Beaker in Text and Image -- CHAPTER 16 When Muslims Died in China -- CHAPTER 17 AbË’l-Fa‰l’s Description of Akbar’s ‘House of Depiction’ -- CHAPTER 18 ‘Migration Theory’ in Islamic Pottery -- Appendix – Sheila Blair and Jonathan Bloom: A Combined Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Explores how Islamic art and architecture were made: their materials and their social, political, economic and religious contextExplores previously neglected practice-based approaches to Islamic art: architecture, painting and the decorative artsLooks at Islamic art from the craftsman’s rather than the patron’s viewpointCovers not just the Islamic heartlands from Spain to Iran but extends to India and China, underlining the global presence of Islamic artPresents material and sources which are usually overlooked in discussions of Islamic artRevises conventional wisdom in fields as disparate as woodwork and ceramicsIlluminates the interface of modern politics and Islamic artIn their own words, Jonathan Bloom and Sheila Blair espouse ‘things and thinginess rather than theories and isations’. Its many insights, firmly anchored in artistic practice, are supported by ample technical know-how. The range is wide – mosques becoming temples; how religious buildings reflect politics; Yemeni frescoes and inscriptions; domestic Syrian 18th-century ornament; Egyptian bookbinding techniques; recycling and repair in Damascene crafts; conservation versus restoration; narrative on ceramics; metalwork with architectural motifs; lost buildings reconstructed; how objects speak; Muslim burials in China; the role of migrating potters; Mughal painting; stone carpet weights; the use of metals in Islamic manuscripts, calligraphy and modern artists’ books.This book’s practical, down-to-earth dimension, expressed in plain, simple English, runs counter to the current fashion for theoretical explanations and their accompanying jargon when exploring the world of Islamic art. This bottom–up approach differs radically and refreshingly from that of much top-down contemporary scholarship. It privileges the maker rather than the patron.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Mai 2023)