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The art and architecture of Islam 1250-1800

Author: Sheila Blair; Jonathan Bloom; Richard Ettinghausen
Publisher: New Haven [Conn.] ; London : Yale University Press, 1994.
Series: Yale University Press Pelican history of art.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
Virtually all the masterpieces of Islamic art - the Alhambra, the Taj Mahal, and the Tahmasp Shahnama - were produced during the period from the Mongol conquests in the early thirteenth century to the advent of European colonial rule in the nineteenth. This beautiful book surveys the architecture and arts of the traditional Islamic lands during this era.
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Document Type: Book
All Authors / Contributors: Sheila Blair; Jonathan Bloom; Richard Ettinghausen
ISBN: 0300058888 9780300058888 0300064659 9780300064650
OCLC Number: 1006077671
Notes: Reprint of 1st ed. with corrections.
Continuation of: The art and architecture of Islam 650-1250 / Richard Ettinghausen and Oleg Grabar. Harmondsworth, Middlesex, England ; New York, N.Y. : Penguin Books, 1987. (The Pelican history of art).
Description: xiii, 348 pages : illustrations (some color), maps, plans ; 30 cm.
Contents: PART I: 1250-1500: Introduction --
Architecture in Iran and Central Asia under the Ilkhanids and their successors --
The arts in Iran and Central Asia under the Ilkhanids and their successors --
Architecture in Iran and Central Asia under the Timurids and their contemporaries --
The arts in Iran and Central Asia under the Timurids and their contemporaries --
Architecture in Egypt under the Bahri Mamluks (1260-1389) --
Architecture in Egypt, Syria, and Arabia under the Circassian Mamluks (1389-1517) --
The arts in Egypt and Syria under the Mamluks --
Architecture and the arts in the Maghrib under the Hafsids, Marinids, and Nasrids --
Architecture and the arts in Anatolia under the Beyliks and early Ottomans --
Architecture and the arts in India under the Sultanates --
PART II: 1500-1800: The arts in Iran under the Sufavids and Zands --
Architecture in Iran under the Safavids and Zands --
Architecture and the arts in Central Asia under the Uzbeks --
Architecture under the Ottomans after the conquest of Constantinople --
The arts under the Ottomans after the conquest of Constantinople --
Architecture and the arts in Egypt and North Africa --
Architecture in India under the Mughals and their contemporaries in the Deccan --
The arts in India under the Mughals and their contemporaries in the Deccan --
The legacies of latter Islamic art.
Series Title: Yale University Press Pelican history of art.
Responsibility: Sheila S. Blair and Jonathan M. Bloom.

Abstract:

Virtually all the masterpieces of Islamic art - the Alhambra, the Taj Mahal, and the Tahmasp Shahnama - were produced during the period from the Mongol conquests in the early thirteenth century to the advent of European colonial rule in the nineteenth. This beautiful book surveys the architecture and arts of the traditional Islamic lands during this era.

Conceived as a sequel to the The Art and Architecture of Islam: 650-1250, by Richard Ettinghausen and Oleg Grabar, the book follows the general format of the first volume, with chronological and regional divisions and architecture treated separately from the other arts. The authors describe over two hundred works of Islamic art of this period and also investigate broader social and economic contexts, considering such topics as function, patronage, and meaning.

They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles.

The authors conclude with a provocative essay on the varied legacies of Islamic art in Europe and the Islamic lands in the nineteenth and twentieth centuries.

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