A Companion to Islamic Art and Architecture

By Finbarr Barry Flood and Gulru Necipoglu

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)

• Language: English
• Publisher: Wiley
• Release date: Jun 16, 2017
• ISBN: 9781119068556

Book preview

Table of Contents

Cover

Volume I

Title Page

List of Illustrations

List of Maps

Notes on Contributors

Acknowledgments

Introduction to Both Volumes of A Companion to Islamic Art and Architecture

1 Frameworks of Islamic Art and Architectural History: Concepts, Approaches, and Historiographies

The Rationale for the Two Volumes of A Companion to Islamic Art and Architecture

The Structure of the Volumes and their Reconceptualized Periodization

Foundations and Historiography of the Field

Some Historical Peculiarities and Tropes of the Field

Recent Developments in the Study of Islamic Art and Architecture

Conclusion

Bibliography

Part I: The Early Caliphates, Umayyads, and the End of Late Antiquity (650–750)

2 The Material Culture of Pre‐ and Early Islamic Arabia

First Millennium BCE

Second to Fourth Centuries CE

Fourth to Sixth Centuries CE

The Islamic Seventh Century

References

3 The Formation of Religious and Caliphal Identity in the Umayyad Period: The Evidence of the Coinage

The Evidence of the Coinage

The Conservative Phase (650–691)

The Civil War and its Aftermath

The Adaptive Phase (I): The Shahada Coinage (691–693)

The Adaptive Phase (II): The Caliphal Image Coinage (693–696)

The Epigraphic Phase (696–)

Coinage and Identity

References

4 The Qurʾan, Calligraphy, and the Early Civilization of Islam

The Arabic Script before Islam

The First Seven Decades of Islam

The Umayyad Period and the Codification of Arabic Scripts (c. 690–750)

Calligraphy at the Height of Abbasid Power (750–c. 900)

The Transformation of Arabic Writing in the Tenth Century

Acknowledgment

References

5 Sacred Spaces in Early Islam

Narratives on Mecca and Medina

Early Islamic Religious Spaces: Plan and Structure

The Location of Sacredness in Early Islam

A New Decorum for Islamic Sacred Spaces

References

Part II: Abbasids and the Universal Caliphate (750–900)

6 Early Islamic Urbanism

Pre‐Islamic Urbanism in Arabia

The Early Amsar

New Urban Settlements of Umayyad Syria

Baghdad and the Abbasids

Raqqa and Qadisiyya

Samarra

The Later Royal City

References

7 Samarra and Abbasid Ornament

Architectural Ornament in Samarra

Architectural Ornament in Late Antiquity and Early Islam

Samarra and Later Modes of Islamic Architectural Ornament

References

8 The China–Abbasid Ceramics Trade during the Ninth and Tenth Centuries: Chinese Ceramics Circulating in the Middle East

Made for Export: Evidence from the Belitung Shipwreck, c. Ninth Century

From Kilns to Ports to Destined Markets: Findings from Two Tenth‐Century Shipwrecks

The Interwoven Network of Trade Routes

Conclusion

References

Part III: Fragmentation and the Rival Caliphates of Cordoba, Cairo, and Baghdad (900–1050)

9 The Three Caliphates, a Comparative Approach

Introduction

Urban Foundations: Abbasid, Umayyad, and Fatimid

Religious Foundations

Comparative Analysis of Architecture under the Rival Caliphates

Court Ceremonies and Religious Rituals

Conclusions: The Waning of Caliphal Competition

References

10 Early Islam on the East African Coast

Introduction

East African Islam and its Architecture

The Shirazi Towns

East Africa in the Global Islamic Economy

References

11 Textiles and Identity

Inscribed Textiles as Symbols of Caliphal Hegemony: The Abbasids

Inscribed Textiles as Caliphal Relics: The Fatimids

References

Part IV: City States and the Later Baghdad Caliphate (1050–1250)

12 The Resurgence of the Baghdad Caliphate

Brief Political and Urban History

Fortifications

Religious Architecture

Secular Architecture: The Abbasid Palace

The Arts of the Book during the Late Baghdad Caliphate

The Legacy of the Architecture and Arts of the Late Baghdad Caliphate

References

13 Turko‐Persian Empires between Anatolia and India

Survey of Scholarship and Key Issues

Techniques and Materials

Greater Iran (Iran and Iraq, Transoxania, Afghanistan)

Anatolia

Syria and al‐Jazira

The Punjab and Northern India

Conclusion

References

14 Bridging Seas of Sand and Water: The Berber Dynasties of the Islamic Far West

The Berbers in History and Scholarship

Trade across the Sahara

The Development of a Common Material and Visual Culture

Conclusion

References

15 Sicily and the Staging of Multiculturalism

Fortunate city, endowed with a trilingual people

The Royal Palaces

Churches and Architectural Decoration

The Cappella Palatina Ceiling and other Painted Ceilings

Siculo‐Arabic Painted Ivories and the Popularization of Courtly Painting

Conclusion

Acknowledgments

References

16 Transculturation in the Eastern Mediterranean

Spatial and Temporal Connections and Continuities

Palatial Culture

Conclusion

References

17 Patronage and the Idea of an Urban Bourgeoisie

References

18 The Social and Economic Life of Metalwork

An Astrolabe Made by Ahmad and Muhammad, Sons of Ibrahim al‐Isfahani

Serçe Limanı Box from the Bodrum Museum of Underwater Archaeology

Seljuq Sabre Blade from the Furusiyya Collection

Zebu and Calf Aquamanile from the Hermitage Museum

The Freer Pen Box Made by Shazi/Shadhi the Naqqash in 1210

A Silver‐Inlaid Tray Made for Badr al‐Din Luʾluʾ in Thirteenth‐Century Mosul

Conclusions

References

19 Ceramics and Circulation

The Qualities of Pottery

The Status of Pottery

Circulation of Pottery

The Beginnings of Islamic Fine Glazed Pottery

Samarra, China, and the Origin of Islamic Polychrome Glazed Pottery

Ceramic Families

Later Circulations

Conclusions

References

20 Figural Ornament in Medieval Islamic Art

References

21 Medieval Islamic Amulets, Talismans, and Magic

What is Magic?

The Literature on Magic

The Nature and Survival of Magical Objects and the Magical Vocabulary

Elements of the Magical Vocabulary

Categories of Objects

Conclusion

References

22 The Discovery and Rediscovery of the Medieval Islamic Object

Art of the Islamic Object: An Overview

What Can Literary and Visual Sources Tell Us?

Rediscovering the Object

Conclusion: Future Directions

References

Volume II

Title Page

List of Illustrations

List of Maps

Notes on Contributors

Part V: Global Empires and the World‐System (1250–1450)

23 Architecture and Court Cultures of the Fourteenth Century

Secular Architecture

Mosques and Other Religious Architecture

Conclusions

References

24 Islamic Architecture and Ornament in China

China’s Earliest Islamic Architecture: The Song Dynasty

Golden Age of Islamic Architecture in China: The Mongol Yuan Dynasty

Islamic Architecture in Ming China

Other Evidence of Islamic Material Culture in China

25 Chinese and Turko‐Mongol Elements in Ilkhanid and Timurid Arts: Part 1: The Mongols (c. 1250–1350)

Textiles as Political Legitimacy and Cultural Identity

Ceramics, Miscellaneous Objects, and the Cycle of Chinoiserie

China and the Rise of Manuscript Painting in Iran

Multireligious Ingredients in the Pictorial Arts of Ilkhanid Iran

References

25 Chinese and Turko‐Mongol Elements in Ilkhanid and Timurid Arts: Part 2: Timurids, Central Asia, and Ming China (1370–1507)

Manuscripts and Paintings

Kitabkhana Designs

Papermaking and Decoration

Ceramics

Nephrite Jade

Conclusion

References

26 Persianate Arts of the Book in Iran and Central Asia

The Arts of the Book under the Mongols

The Arts of the Book from the Mongols’ Demise to the Timurids

References

27 Later Qurʾan Manuscripts

The Scribal Traditions of Iraq and their Dissemination

Qurʾan Manuscripts from Anatolia, Iraq and Iran, and Central Asia

Qurʾans Produced for Mongol Patrons

The Qurʾans of India

Qurʾans of the Mamluks

Conclusion

References

28 Locating the Alhambra: A Fourteenth‐Century Islamic Palace and its Western Contexts

The Palace of Comares: Seat for a Western Caliphate

Al‐Riyad al‐Saʿid: Garden of Knowledge

Courtliness, Contacts, and Mudéjar

Directions for Further Research

References

29 Architectural Patronage and the Rise of the Ottomans

Historiography

Continuity and Change under Orhan and Murad I (1326–1389)

Bayezid I and the Anatolian Heritage (1389–1402)

Mosques of Bayezid I and Mehmed I (1389–1421)

The Mosques of Çandarlı Qara Khalil Pasha and Bayezid Pasha

The Green Mosque in Bursa (1419–1424) and Later Buildings

Concluding Remarks

References

30 Islam beyond Empires: Mosques and Islamic Landscapes in India and the Indian Ocean

Introduction

Islamic Landscapes beyond the Lands of Islam

Mosques and the Islamic Landscape of South Asia

South Asian Mosques beyond Hypostyle Paradigms

Early South Asian Mosques and Indic Spatialities

Architectural Patronage beyond the Lands of Islam

Conclusions and Future Directions

References

31 The Deccani Sultanates and their Interregional Connections

Political Mechanisms

Economic and Social Mechanisms

Conclusion

References

Part VI: Early Modern Empires and their Neighbors (1450–1700)

32 The Mughals, Uzbeks, and the Timurid Legacy

The Leitmotifs of Timurid Architecture

Mughal Architecture – Assessing the Timurid Legacy

Conclusion

References

33 Istanbul, Isfahan, and Delhi: Imperial Designs and Urban Experiences in the Early Modern Era

City Portraits c. 1650

Populations and Neighborhoods

Configuring Capital Cities and the Politics of Space

Court into the City: Urban Spaces of Ceremonial

Public Spaces and Modes of Sociability, Old and New

References

34 Painting, from Royal to Urban Patronage

Epic and Romantic Tales

Dynastic and Universal Histories

Religious Themes

Albums and the Perpetuation of Artistic Legacies

Portraiture: From Royal to Urban

Conclusion

References

35 Objects of Consumption: Mediterranean Interconnections of the Ottomans and Mamluks

When Did Consumer Society Take Off?

Market and Non‐Market Forms and Levels of Exchange

Courtly Gifts: Negotiating Political, Confessional, and Linguistic Borders

Cross‐Cultural Portraiture: Mirroring the Other

Domestic Interiors: Hygiene, Comfort, Taste, and Refinement

Conclusion: Moral Strictures and the Public Order

References

36 Safavid Arts and Diplomacy in the Age of the Renaissance and Reformation: Part 1: The Safavids and Their Neighbors: The Movement of Objects

Shah Ismaʿil I: Appropriation of the Past

Shah Tahmasp: Forging of a New Visual Identity

Shah ʿAbbas I: Disseminating a Vision of Power

Acknowledgments

References

36 Safavid Arts and Diplomacy in the Age of the Renaissance and Reformation: Part 2: The Arts of Gifting between Safavids and Habsburgs

References

37 Carpets, Textiles, and Trade in the Early Modern Islamic World

Symbolism, Status, Economics, and Taste

Scholarship

Commerce and Taxation

Commerce in Carpets

Creativity and Style: The Art of Making Textiles

Textiles and Carpets in the Ottoman Empire

Textiles of Mamluk Egypt and Syria

Textiles of the Timurid, Turkmen, and Safavid Realms

Textiles of the Mughal Empire and Deccani Kingdoms

Conclusion

References

38 Trade, Politics, and Sufi Synthesis in the Formation of Southeast Asian Islamic Architecture

Southeast Asian Islamic Architecture?

Range and Scope of Existing Surveys

The Sense of a Region

Categories and Contexts: Mosque Halls and Mausolea

Islam as Overlay: Discursive Re‐signification Beyond Mosques

Temporal Paradox and Political Posturing

Conclusion

References

39 Mudejar Americano: Iberian Aesthetic Transmission in the New World

References

Part VII: Modernity, Empire, Colony, and Nation (1700–1950)

40 Beyond the Taj Mahal: Late Mughal Visual Culture

Monuments as Models: The Legacy of Shahjahani Architecture

Urban Culture

Late Mughal Painting and Muhammad Shah

The Visual Culture of the Itinerant Mughal Court

The Nineteenth Century: Looking Back, Looking Ahead

41 Kings and Traditions in Différance: Antiquity Revisited in Post‐Safavid Iran

Zand and Early Qajar: Looking to the Recent Past

High Qajar Period: Revivalism as Recovered Kingdom

Late Qajar and Pahlavi: Eclecticism as Anti‐Colonialism

References

42 Public Sphere in the Eastern Mediterranean

Spaces of Sociability

Spaces of Dissent

Spaces of Modernity

References

43 "Jeux de miroir": Architecture of Istanbul and Cairo from Empire to Modernism

References

44 Islamic Art in Islamic Lands: Museums and Architectural Revivalism

Codifying National Art and Architecture

Museums of Islamic Art

Architectural Revivalism

Conclusions

References

45 Islamic Art in the West: Categories of Collecting

The Religious Domain

Cabinets of Curiosity and Other Collections

Manuscripts in European Libraries

Universal Museums

Special Collections

Museums of Applied Art and International Exhibitions

Ethnographic Collections

Private Collections: The Cult of the Art Object

Connoisseurship in Islamic Art

Museums in Islamic Lands

American and Russian Museum Collections

Developments and Re‐evaluations Since World War II

Dispersal and Dismemberment

References

46 Islamic Arts and the Crisis of Representation in Modern Europe

Crisis in Western Identity

Orientalism

Ornamental Revolution

Islamophilia

Modernism

References

Part VIII: Islam, Art, and the Contemporary (1950–Present)

47 Resonance and Circulation: The Category Islamic Art and Architecture

Definitions and Boundaries

The Plot of Islamic Art History

Islam‐as‐Religion versus Islam‐as‐Culture

The Corpus of Islamic Art: Inclusions and Exclusions

Preservation and Destruction

Reproduction and Exhibition, or the Agency of Display

The Creator’s Dilemma: Islamic Art and Muslim Identities

Islamization and Secularization in Dialogue

Conclusion

References

48 Dubai, Anyplace: Histories of Architecture in the Contemporary Middle East

History and Context

Constructing an Imperial Past

Heritage Reclaimed and Reimagined

A Capitalist Modernity

Skyscraper Dreams

References

49 Translations of Architecture in West Asia during the Twentieth Century

Translations into the National: The New World after World War I

Translations into the Regional: Cold‐War Balances

Translations into the Islamic: Postmodern and Global Currents

References

50 Calligraphic Abstraction

Calligraphic Abstraction in Context

Art and Decolonization

The Discursivity of Calligraphic Abstraction

References

51 Articulating the Contemporary

Contemporary Figures

Globalized Convergences

Histories of the Contemporary

Ruptures within the Contemporary

Conclusion

References

Index

End User License Agreement

List of Tables

Vol1-c21

Table 21.1 Correspondence between letters and cosmological levels according to The Sun of Knowledge and the Secrets of Gnosis.

Table 21.2 Correspondence of letters, cardinal points, angels, day, and qualities according to The Sun of Knowledge and the Secrets of Gnosis.

Table 21.3 Verses of Sura al‐fatiha and their corresponding days, divine names, planets, and angels according to The Sun of Knowledge and the Secrets of Gnosis.

Table 21.4 The 4 × 4 magic square.

List of Illustrations

Vol1-c02

Map 2.1 The Arabian Peninsula, catalogue Paris 2010, 28–29.

Figure 2.1 Al‐ʿUla, statue, probably of a king of the dynasty of Lihyan (fourth–third century BCE), catalogue Paris 2010, 278.

Figure 2.2 Shabwa, the Royal Palace (third century CE).

Figure 2.3 Marib, Awam cemetery, tombstone (second–first century BCE).

Figure 2.4 Madaʾin Salih (Hegra), façade of a tomb (first century CE).

Figure 2.5 Jabal al‐ʿAud, bust of Athena (first century BCE–first century CE).

Figure 2.6 Zafar, plaque decorated with a vine scroll composition (sixth century CE).

Figure 2.7 Saqaf/Khaulan painting of a castle (probably Ghumdan, second–third century CE).

Vol1-c03

Figure 3.1 (a) Mutilated cross solidus.(b) Arab‐Sasanian drachm, Bishapur mint, 47 AH.

Figure 3.2 (a) Shahada solidus.(b) Arab‐Sasanian drachm, Damascus, 74/693–694 (Balog 1950).

Figure 3.3 (a) Caliphal image solidus.(b) Caliphal image drachm 1.(c) Caliphal image drachm 2 (Mihrab and ʿAnaza drachm).

Figure 3.4 (a) Early epigraphic dinar, no mint 77/696–697.(b) Epigraphic dirham, Damascus 99/717–718).

Vol1-c04

Figure 4.1 Qurʾanic palimpsest in Hijazi script (unknown provenance, seventh century).

Figure 4.2 Opening illumination of an Umayyad Qurʾan discovered in Sanaa (probably Greater Syria, early eighth century).

Figure 4.3 The Qurʾan of Amajur, classical Kufic script (Greater Syria, in or shortly after 876).

Figure 4.4 The Isfahan Qurʾan, written in the New Style (Isfahan, 993). London and Geneva, The Nasser D. Khalili Collection of Islamic Art, KFQ90 recto.

Vol1-c05

Figure 5.1 The Kaʿba, Mecca, c. 1910.

Figure 5.2 The main nave of the sanctuary leading to the mihrab, Great Mosque of Qayrawan.

Figure 5.3 The courtyard and façade of the sanctuary, Great Mosque of Damascus.

Figure 5.4 Wall mosaics rinceaux, narthex, Church of Haghia Sophia, Istanbul.

Figure 5.5 Wall mosaic rinceaux, outer façade of the inner octagon, Dome of the Rock, Jerusalem, 692.

Vol1-c06

Figure 6.1 Umayyad city of ʿAnjar, Lebanon, 714: 1. and 3. palaces, 2. mosque, 4. bathhouses, 5. zone of housing, 6. and 7. colonnaded avenues, 8. tetrapylon, 9. gates.

Figure 6.2 The Round City of Baghdad, 762–766.

Figure 6.3 The layout of Samarra, 836–892.

Figure 6.4 Plan of al‐Mutawakkiliyya, 859–861.

Figure 6.5 Schema of the development of Fustat and al‐Qahira.

Vol1-c07

Figure 7.1 Luster‐painted earthenware tiles from Samarra, Iraq, ninth century.

Figure 7.2 Hypothetical tile friezes based on examples from Qayrawan, Tunisia. After Allan 2001.

Figure 7.3 Speculative reconstruction of a Samarran interior using luster tiles from Qayrawan, Tunisia, and stucco elements from the palaces of Balkuwara, Iraq.

Figure 7.4 Examples of ornamental stucco friezes from Samarra (not to scale). (a) Style A; (b) Style B; (c) Style C.

Figure 7.5 Carved stucco panels from the palaces north of Rafiqa (Raqqa), Syria, late eighth–early ninth centuries.

Vol1-c08

Figure 8.1 Bowl painted in brown and green with bird. Chinese, c. ninth century, Changsha ware, diameter 20 cm. From the Belitung shipwreck.

Figure 8.2 Dish painted in blue with a lozenge and foliage. Chinese, c. ninth century, Gongxian ware, diameter 23 cm. From the Belitung shipwreck. Asian Civilisation Museum, Tang Shipwreck Collection, Singapore.

Figure 8.3 Basin engraved with an inscription along the rim and a six‐pointed star on the bottom, Afghanistan, c. early eleventh century. Bronze, diameter 57 cm. From the tomb (dated 1018) of the Princess of the State of Chen and her consort in Naiman Banner, Inner Mongolia Autonomous Region.

Figure 8.4 Bottle with a short tapering neck and wheel‐cut decoration, Iran, c. tenth century. Glass, height 9.8 cm. From the relic deposit underneath the foundation of the Jingzhi Temple Pagoda in Dingzhou, Hebei province.

Vol1-c09

Figure 9.1 Reception Hall of ‘Abd al‐Rahman III, Madinat al‐Zahra’, Cordoba.

Figure 9.2 Cup bearer and musician, from al‐Mahdiyya, in the Bardo National Museum, Tunis.

Figure 9.3 Great Mosque of Cordoba, Spain, mihrab.

Figure 9.4 Mosque of al‐Azhar, Cairo.

Figure 9.5 Mosque of al‐Hakim, Cairo, south minaret with encasing, inscription, and reconstructed portal.

Figure 9.6 Carved wood doors, ninth‐century Iraq.

Figure 9.7 Detail of Fatimid palace beams, from the Museum of Islamic Art, Cairo.

Figure 9.8 Abbasid tiraz, 991–1031. Its inscription reads: Bismillah. Praise be to God, the Lord of the worlds, and a good end to those who fear God. And God bless Muhammad the seal of the Prophets, and all his family, the good, the excellent. Blessing from God and glory to the Caliph, the servant of God, Abu’l‐ʿAbbas Ahmad, al‐Qadir billah, Commander of the Faithful, may God glorify him and [. . .]. 31.106.56a.

Vol1-c10

Map 10.1 Map of East Africa showing sites mentioned in the text.

Figure 10.1 The Shanga lion, a Hindu style figurine, probably produced in Islamic East Africa.

Figure 10.2 Locally minted silver coins from East Africa: 1, 2 Shanga, Muhammad, eighth or early ninth century; 3, 4 Shanga, ʿAbd Allah, ninth or early tenth century; 5–8, Mtambwe Mkuu, tenth–early eleventh century.

Figure 10.3 Development sequence of the Shanga mosques, eighth–eleventh century.

Figure 10.4 Timber mosque on Songo Mnara island, closely resembling ninth‐century examples that have been excavated.

Figure 10.5 The mihrab at Kizimkazi, 1107. After its restoration, the coral was unfortunately covered in oil paint covering some of details of the carving and inscriptions.

Figure 10.6 Kufic inscription from Tumbatu, mid‐twelfth century.

Figure 10.7 The main mosque at Kilwa, early twelfth century.

Figure 10.8 The classic mihrab at Ras Mkumbuu, Pemba Island.

Vol1-c11

Figure 11.1 Tiraz textile fragment, dated 939–940, Egypt, linen plain weave, silk embroidered, height 41.9 × width 74.9 cm.

Figure 11.2 Mahmud ibn Sebuktegin donning a robe of honor sent by the Abbasid caliph al‐Qadir (947–1031) in the year 1000, illustration from the Jamiʿ al‐tawarikh (Compendium of Chronicles) of Rashid al‐Din, c. 1306 or c. 1314/15.

Figure 11.3 Joshua ordering the property taken at Jericho to be destroyed. Illustration from the Jamiʿ al‐tawarikh (Compendium of Chronicles) of Rashid al‐Din, c. 1306 or c. 1314/15.

Figure 11.4 Enshrouded corpse from Tomb 49 in the second funerary enclosure (B6) at Istabl ʿAntar, Fustat.

Figure 11.5 Members of the Museum of Islamic Art, Cairo, examining an enshrouded corpse at Khadra Sharifa, Fustat during the early 1930s.

Figure 11.6 A member of the Museum of Islamic Art, Cairo, examining an enshrouded corpse at Khadra Sharifa, Fustat during the early 1930s and cutting away a portion covering the head.

Figure 11.7 Coronation mantle of Roger II of Sicily, Palermo, c. 1133–1134, silk and gold embroidery, pearls, gemstones, cloisonné enamel on samite, 146 × 345 cm, Kunsthistorisches Museum Wien (Vienna, Austria).

Vol1-c12

Figure 12.1 Baghdad: Dhafariya (Wastani) Gate, 1221, from north.

Figure 12.2 Baghdad: Conical dome of ʿUmar al‐Suhrawardi, early thirteenth century.

Figure 12.3 Baghdad: Madrasa al‐Mustansiriyya, completed 1233, courtyard from east.

Figure 12.4 Baghdad: Abbasid Palace, c. 1200, corridor with muqarnas vaulting.

Vol1-c13

Figure 13.1 Ardistan (Iran), Great Mosque, dome hall, 1158.

Figure 13.2 Bukhara (Uzbekistan), Great Mosque, minaret, 1127.

Figure 13.3 İnce Minareli closed court madrasa and mosque, Konya, c. 1265 (before collapse of minaret in 1901).

Figure 13.4 Plan, Karatay Han with arcaded open court and covered stable, Kayseri–Malatya road, 1231–1240.

Figure 13.5 Aleppo, Madrasa Kamaliyya ʿAdimiyya, 1241–1252, ground plan.

Figure 13.6 Damascus, al‐Salihiyya, street view with façades, domes, and minarets of the Madrasas al‐Farnathiyya, al‐Murshidiyya, al‐Ashrafiyya, and al‐Atabakiyya, first half of thirteenth century.

Figure 13.7 Detail of corbelled ogee arch of Qutb al‐Din Aybak’s screen showing vegetal and epigraphic borders, Qutb mosque, Delhi, c. 1200, showing Indic‐style corbelled ogee arches and carved decoration of meandering vines, buds, and floral medallions.

Figure 13.8 Prayer hall screen, Adhai‐din‐ka‐Jhompra Mosque, Ajmer, 1206.

Vol1-c14

Figure 14.1 Minbar of the Kutubiyya Mosque, al‐Badiʿ Palace, Marrakesh.

Figure 14.2 Qubbat al‐Barudiyyin, exterior and interior dome, Marrakesh.

Figure 14.3 Rectangular muqarnas vault, al‐Qarawiyyin Mosque, Fez.

Figure 14.4 Bab al‐Ruwah, Rabat.

Figure 14.5 Puerta del Perdón, Cathedral of Seville, detail.

Vol1-c15

Figure 15.1 Spolia column from Arab mosque with Qurʾan 7:52 (tenth–eleventh century?) Palermo Cathedral, south portico.

Figure 15.2 Epitaph with quadrilingual inscription of Anna, mother of royal priest Grisandus, 1149, white marble with opus sectile marble and glass tesserae inlays (40 × 32 cm), from San Michele Arcangelo, Palermo, Museo della Zisa.

Figure 15.3 Fountain hall (shadhirwan) of the Zisa Palace (restored), Palermo, c. 1165–1180.

Figure 15.4 SS. Trinità di Delia, Castelvetrano, mid‐twelfth century (restored).

Figure 15.5 Cappella Palatina, Palermo, nave muqarnas ceiling with a marked Christian cross inside rhombus, 1140s.

Vol1-c16

Figure 16.1 Oliphant, Museum für Islamische Kunst, Staatliche Museen zu Berlin‐ Preußischer Kulturbesitz, K3106.

Figure 16.2 Shadhbakhtiyya madrasa in Aleppo, mihrab.

Figure 16.3 Muqarnas oculi. (a) Gavit of the Church of the Holy Apostles at Ani, late twelfth century.(b) Ulu Cami in Erzurum, late twelfth century.(c) Imam Yahya Mashhad, Mosul.

Figure 16.4 Reception room, 1150–1200, Norman Royal Palace, Palermo.

Figure 16.5 Two dancers. (a) Fatimid, ivory panel, tenth–twelfth century, Museo del Bargello, Florence.(b) Norman Royal Palace, Palermo, painting on muqarnas ceiling, Cappella Palatina, c. 1140–c.1147.

Figure 16.6 Automaton of female court attendant, in al‐Jazari, Book of Ingenious Mechanical Devices.

Figure 16.7 Canteen, brass inlaid with silver, Syria or Mesopotamia, c. 1250.

Vol1-c17

Figure 17.1 Silver‐inlaid, pear‐shaped, metal ewer with a lamp‐shaped spout, with inscriptions including one identifying the owner as a doctor in religious law. Probably Khurasan, late twelfth century. New York, Metropolitan Museum of Art, inv. no. 54.64.

Figure 17.2 Wood panel with an inscription of best wishes to its owner. Egypt, Tulunid period, ninth century. Cairo, Museum of Islamic Art, no. 3498.

Figure 17.3 Two glass beakers with enameled and gilded painted decoration showing Christian scenes, possibly made for local Christian markets. Attributed to Syria, datable to the first half of the thirteenth century.

Figure 17.4 Tiraz textile with an inscription referring to production for a general market (tiraz al‐ʿamma). Tuna (Egypt), 388 (998). Athens, Benaki Museum, 15006.

Figure 17.5 Bobrinsky bucket. Herat, dated Muharram 559 (December 1163). Brass, silver, and copper; cast, forged, and decorated with inlay. Height 18.5 cm. Inv. no. IR‐2268. The State Hermitage Museum, St. Petersburg.

Figure 17.6 Frontispiece with a sage holding a flabellum. Ibn Bakhtishuʿ, Kitab Naʿt al‐Hayawan, probably produced in Baghdad, c. 1225. London, British Library, Or. 2784, fol. 3r.

Vol1-c18

Figure 18.1 Astrolabe, brass, Isfahan, 984.

Figure 18.2 Box, brass, east Mediterranean, eleventh century, from the Serçe Limanı shipwreck.

Figure 18.3 Saber blade, steel, Iran, eleventh–twelfth century, length 75.4 cm.

Figure 18.4 Zebu and calf aquamanile, cast from a quaternary alloy, inlaid with silver, probably made in Herat, Afghanistan, 1206, height 35 cm.

Figure 18.5 Pen box, cast brass, inlaid with silver, Iran or Afghanistan, 1210.

Figure 18.6 Tray, brass, inlaid with silver, Mosul, first half of the thirteenth century.

Vol1-c19

Figure 19.1 Jar, earthenware with turquoise glaze, Iraq, eighth century, height: 40 cm.

Figure 19.2 Sherds of Yellow Glazed family ware, earthenware, with painting in yellow, green, and white glazes, and in black pigment, Syria, Raqqa (finds from the Tell Aswad), late eighth or early ninth century, Raqqa Museum, Syria.

Figure 19.3 Dish, earthenware bowl, painted in blue in an opaque, white glaze, Iraq, ninth century, diameter: 20.5 cm.

Figure 19.4 Bowl, earthenware, with a white slip and painted in black and red slips under a transparent glaze, eastern Iran, Nishapur or Samarqand, tenth century, diameter: 27 cm. The inscription reads: He who believes in a reward [from God] is generous with gifts.

Figure 19.5 Bowl, fritware painted in black and blue under a transparent glaze, Iran, Kashan, beginning of thirteenth century, diameter: 21 cm.

Vol1-c20

Figure 20.1 Bone doll, probably Egypt, eighth–tenth century.

Figure 20.2 Luster‐painted ceramic bowl with figure holding a cup, Iraq, tenth century.

Figure 20.3 Polychrome glazed ceramic bowl with bull‐masked dancer, eastern Iran, tenth–eleventh century.

Figure 20.4 Inlaid bronze inkwell with signs of the zodiac, Iran, early thirteenth century.

Figure 20.5 Luster‐painted ceramic tile with enthronement scene and poetic inscriptions, Iran, 1211–1212.

Vol1-c21

Figure 21.1 Authors’ reproduction of symbols from The Goal of the Sage to be inscribed on a cloth in order to attract a lover.

Figure 21.2 Authors’ reproduction of symbols from The Goal of the Sage associated with the angel Bayel assigned to the sun.

Figure 21.3 Authors’ reproduction of magical alphabet of Qalfatrios from Ancient Alphabets and hieroglyphic characters attributed to Ibn Wahshiyya.

Figure 21.4 Clay bulla, lion facing a scorpion under star canopy, c. ninth–tenth century. Diameter: 2.9 cm.

Figure 21.5 Brass talismanic plaque with magical scripts and the seated figure of Solomon, c. nineteenth century. 11.5 × 9.0 cm.

Figure 21.6 Brass seal with 3 × 3 magic square, c. nineteenth century. 27.0 × 2.5 cm. Each of the numbers has had 39 added to it, totaling 1185. In the abjad system this makes up the invocation ya ism al‐Aʿzam (O greatest name [of God]).

Figure 21.7 Carnelian amulet inscribed with the Seven Magical Signs. 1.5 × 1.2 cm.

Figure 21.8 Magic medicinal bowl. Syria dated 565 (1169–1170). Height: 7.5 cm; Diameter: 19.0 cm. Nasser D. Khalili Collection of Islamic Art (MTW 1443).

Figure 21.9 Talismanic shirt with Qurʾanic inscriptions, the phrase There is no youth except ʿAli, no sword but Dhuʾl Faqar, groups of letters and numbers, and depictions of the sanctuaries of Mecca and Medina. Probably Deccan sixteenth–seventeenth centuries. Nasser D. Khalili Collection of Islamic Art (TXT 0471)).

Vol1-c22

Figure 22.1 The so‐called Marwan II ewer. Bronze cast and pierced. Syria eighth–early ninth century.

Figure 22.2 Earthenware, white and black slip decoration under transparent glaze. Iran, Nishapur, tenth century.

Figure 22.3 Carved ivory pyxis. Cordoba, dated 966 CE. The Hispanic Society of America, D 752.

Figure 22.4 Painted ivory box. Probably Norman Sicily or Italy, thirteenth century. Mounting: gilded silver and semi precious and glass stones. Dimensions: length 17.1 cm, depth 10 cm.

Figure 22.5 The so‐called Pisa griffin. Provenance uncertain, c. 1000. Dimensions: height 107 cm; length 87 cm; width 43 cm.

Vol2-c23

Figure 23.1 Courtyard, Sahrij madrasa, Fez.

Figure 23.2 Interior of mausoleum, complex of Qalawun, Cairo.

Figure 23.3 Exterior, complex of Sultan Hasan, Cairo.

Figure 23.4 Exterior of the Mosque of Bibi Khanum, Samarqand.

Figure 23.5 Exterior of mausoleum of Uljaytu, Sultaniyya, Iran.

Figure 23.6 Interior of lecture hall, madrasa, Khargird.

Figure 23.7 Exterior of mausoleum of Rukn‐i ʿAlam, Multan.

Vol2-c24

Figure 24.1 Entry and wall of Shengyousi, Quanzhou, 1009–1010; repaired 1310–1311.

Figure 24.2 Pieces of cenotaphs with lotus petals, standard imagery in Buddhist pagodas and altar bases, along base level, Quanzhou Maritime Museum.

Figure 24.3 Guangta (minaret), Huaisheng Mosque, Guangzhou, c. 1350 with repairs as late as the twentieth century.

Figure 24.4 Tomb of Tughluq Timür, Huocheng, Xinjiang Uygur Autonomous Region, c. 1363.

Figure 24.5 Huajuexiang Mosque, Xi’an, Ming period and later.

Vol2-c25a

Figure 25.1 Hanging with roosters and dragons. Lampas weave. Mongol Eurasia, c. 1300. The David Collection, Copenhagen, 40/1997.

Figure 25.2 Mausoleum of Rukn al‐Din (also known as the Rukniyya): interior painted decoration. Yazd, Iran, 1325.

Figure 25.3 Frieze tile with a phoenix, clouds, and lotuses. Fritware, overglaze luster painting. Iran (probably Takht‐i Sulayman), c. 1270s. The Metropolitan Museum of Art, New York, Rogers Fund, 1912 (12.49.4).

Figure 25.4 Isfandiyar approaching Gushtasp, page from the Great Mongol Shahnama. Iran (probably Tabriz), 1330s. Berenson Collection, Villa I Tatti, Florence. Reproduced with permission of the President and Fellows of Harvard College.

Figure 25.5 Rock‐carved dragon. From a former Buddhist site near Viar, Iran, late thirteenth century.

Vol2-c25b

Figure 25.6 Two dancing dervishes and Two seated demons, attributed to Muhammad Siyah Qalam, Album paintings, Topkapı Palace Museum Library, Hazine 2153, f. 34b.

Figure 25.7 Five horses, Chinese painting on silk, Topkapı Palace Museum Library, Hazine 2153, f. 151a.

Figure 25.8 Pages from Haydar’s Chaghatai poem Makhzan al‐asrar, Tabriz, 1478, New York Public Library, Spencer Collection, Pers. Ms. 41, ff. 21b–22a.

Figure 25.9 Plate, underglaze‐painted, Mashhad, 1473, The State Hermitage Museum VG‐2650.

Figure 25.10 Cup inscribed with the name of Ulugh Beg Küregen, nephrite, c. 1420–1449, The British Museum, OA 1959.11‐20.1 (36).

Vol2-c26

Figure 26.1 Two elephants, from the Manafiʿ‐i hayavan (The Benefits of Animals) by Abu Saʿid ʿUbayd Allah bin Ibrahim, known as Ibn Bakhtishuʿ, Iran, Maragha, dated 1297–1298 or 1299–1300. Opaque pigment and ink on paper, 35.5 × 28 cm (folio).

Figure 26.2 Bahram Gur fights the Karg, illustrated folio from the Great Mongol Shahnama (Book of Kings) by Firdawsi, Iran, Tabriz (?), 1330s. Opaque pigment, silver, and ink on paper, 41.5 × 30 cm (folio). Harvard Art Museums, Arthur M. Sackler Museum, Cambridge, MA, bequest of Abby Aldrich Rockefeller, 1960.190.

Figure 26.3 Humay recognizes Humayun, illustrated folio from the "Three Masnavis" by Khvaju Kirmani, Iraq, Baghdad, 1396. Copied by Mir ʿAli bin Ilyas al‐Tabrizi al‐Bavarchi for Sultan Ahmad. Opaque pigment, gold, and ink on paper, 32 × 24 cm (folio). The British Library, London, Add. 18113, fol. 23a.

Figure 26.4 Gemini, marginal drawings of Khusraw Parviz watching Shirin bathing, and rams fighting, from a treatise on astrology in the Anthology made for Iskandar Sultan, Iran, Shiraz, 1410–1411. Opaque pigment, gold, and ink on paper, 18.4 × 12.7 cm (folio). The British Library, London, Add. 27261, fol. 538b.

Figure 26.5 Isfandiyar slays Arjasp in the Brazen Hold, illustrated folio from the Shahnama (Book of Kings) by Firdawsi made for Muhammad Juki. Afghanistan, Herat, c. 1440–1445. Opaque pigment, gold, and ink on paper, 34 × 22 cm (folio). The Royal Asiatic Society, London, MS239, fol. 278a.

Vol2-c27

Figure 27.1 Right half of the frontispiece to Juz 4 (Q.39: 92) with interlinear glosses in Persian and Turkish, 27 × 29 cm, paper, gold, pigments, Turkey or Central Asia, mid‐fourteenth century.

Figure 27.2 Double‐page frontispiece from a Qurʾan, Egypt (Q.9: 128–129), c. 1370, ink, paper, gold, colors, 40.9 × 65 cm.

Figure 27.3 Spain, thirteenth century, Q.64.18–65.1, ink, colors, and gold on peach‐colored paper probably from Jativa, 33.63 × 26.04 cm.

Figure 27.4 Left half of a colophon signed by Ahmad ibn al‐Suhrawardi al‐Bakri, Baghdad, 1308, text in a script that combines muhaqqaq and tawqiʿ with headings in Kufic, 51.3 × 36.8 cm.

Figure 27.5 Folio from a Qurʾan manuscript, India, early fifteenth century, 22.2 × 23.7 cm, Sura 8:74–75, Sura 9: 1–2.

Vol2-c28

Figure 28.1 Plan of the Alhambra, with the Hall of Comares projecting towards the northeast. After Contreras.

Figure 28.2 Alhambra, Hall of Comares, interior.

Figure 28.3 Alhambra, Palace of the Lions, courtyard.

Figure 28.4 Alhambra, Palace of the Lions, Hall of Justice, ornament.

Figure 28.5 Alhambra, Palace of the Lions, Hall of Justice, painted ceiling with courtly images.

Vol2-c29

Figure 29.1 Behramkale (Assos), mosque of Murad I, c. 1380. Gate with reused Byzantine lintel from a church of St. Cornelius.

Figure 29.2 Iznik, mosque of Çandarlı Kara Halil Pasha (a.k.a. Green Mosque), 1378–1392.

Figure 29.3 Bursa, Green Mosque, 1419–1424.

Figure 29.4 Bursa, Green Mosque, 1419–1424. Interior view towards the entrance and royal loggia (top) and view from the royal loggia (bottom).

Figure 29.5 Edirne, Triple‐Galleried (Üç Şerefeli) Mosque, 1437–1447. View from the northeast with the Old Friday mosque, 1403–1414, in the background on the left.

Vol2-c30

Figure 30.1 Inked rubbing of the Arabic endowment text to the mosque of Firuz al‐ʿIraqi built outside Somnath Patan in western India in 662 (1264).

Figure 30.2 Longitudinal section of the mosque of al‐Idhaji at Junagadh in western India, dated by its foundation inscription to 685 (1286–1287). The section shows the northern entrance gateway and the main mosque with its portico and prayer hall, together with the earlier cave in the bedrock below.

Figure 30.3 Ground plan of the Friday mosque at Calicut, Kerala, showing the expansion of the mosque around the original fourteenth‐ or early fifteenth‐century prayer hall and antechamber.

Figure 30.4 View of the porch or dihliz with seating platforms built on to the antechamber of the Friday mosque at Calicut, dated by its foundation inscription to 1090 (1679–1680). Photograph by the author.

Figure 30.5 Site plan of the mosque of al‐Idhaji at Junagadh, 685 (1286–1287) showing 1. prayer hall, 2. secondary chamber, 3. portico, 4. northern gateway, 5. lower courtyard, 6. domed pavilion attached to mosque, 7. domed pavilion in courtyard of cave.

Vol2-c31

Figure 31.1 Daulatabad, Jamiʿ Masjid, c. 1313–1318.

Figure 31.2 Aurangabad, Bibi ka Maqbara, 1660–1661.

Figure 31.3 Jahangir receives Prince Khurram on his return from the Deccan in 1617, painted by Murar, folio 49a from the Windsor Castle Padshahnama. Two Deccani courtiers are seen in the lower left corner of the page.

Figure 31.4 Ibrahim ʿAdil Shah II as a musician, painted by Farrukh Beg in Bijapur, c. 1605–1609. From the Gulshan Album. Inv. no. A 12 182.

Figure 31.5 Ewer in the shape of a goose (hamsa), Deccan, fifteenth or sixteenth century. Bronze with layer brass repairs, copper‐arsenic paste. Helen and Alice Colburn Fund, 1937, 37.470.

Figure 31.6 Golconda, mosque attached to the tomb of Hayat Bakhsh Begum, carved stone inscription with text from the Qurʾan (sura 2, verses 142 and 143) framing the mihrab. Written by Taqi al‐Din Muhammad, son of Shaykh Salih of Bahrain, 1667.

Figure 31.7 Madrasa established by Mahmud Gawan at Bidar, 1472.

Figure 31.8 Portraits of the patrons Viranna and Virupana, ceiling painting from the temple of Virabhadra at Lepakshi, mid‐sixteenth century.

Vol2-c32

Figure 32.1 Registan Square in Samarqand: 1 Madrasa of Ulugh Beg (1417–1221); 2 Madrasa Shir Dar (1619–1636); 3 Tilleh‐kari Mosque (1646–1660); 4 Chahar‐su (commercial kiosk).

Figure 32.2 Model of the Friday mosque of Samarqand.

Figure 32.3 Plan of the shrine of Ahmad Yasavi, Turkestan.

Figure 32.4 Section of the dome of the Gur‐i Amir in Samarqand, showing the internal structure and geometric analysis of the proportions of the building.

Figure 32.5 Interior of the dome chamber left of the entrance in the madrasa at Khargird.

Figure 32.6 Tomb of Humayun at Delhi, built between 1562 and 1571, plan of the garden showing in the center the platform of the tomb with surrounding rooms and burial chambers. The so‐called Tomb of the Barber dated 1590–1591 is situated in the southeast corner of the garden.

Figure 32.7 Tomb of Humayun, ground plan of the tomb structure on the platform.

Figure 32.8 Tomb of Humayun after its restoration by the Aga Khan Trust for Culture, seen from the west. The restoration included the facing of the niches in the platform with white stucco plaster (chunam) and the renovation of the original tile mosaic of the small kiosks (chhatris) topping the frames of the grand entrance niches (pishtaqs).

Figure 32.9 Reconstruction of the entire Taj Mahal complex with its now lost bazaar and caravanserai complex in the south, length 896 m, width 300.84 m.

Figure 32.10 Jamiʿ Masjid, Khiva, Uzbekistan, reconstructed in the eighteenth century with wooden columns dating from different periods reaching back to the ninth century and earlier.

Vol2-c33

Map 33.1 Istanbul, map with main landmarks in the mid‐seventeenth century. 1. Hagia Sophia; 2. Topkapı Palace; 3. Hippodrome/Atmeydanı; 4. Ibrahim Pasha Palace; 5. Ahmed I mosque complex; 6. Divan Yolu; 7. Bayezid II mosque complex; 8. The Old Palace; 9. Bedestan; 10. Süleymaniye mosque complex; 11. Mehmed II mosque complex; 12. Janissary barracks and Etmeydanı; 13. Ayyub al‐Ansari complex; 14. Greek Orthodox Patriarchate; 15. Armenian Patriarchate; 16. Mosque‐convent complex; 17. Mosque complex; 18. Madrasa and mausoleum complex; 19. Markets; 20. Caravanserai; 21. Public bath; 22. Yedikule citadel; 23. Royal palace or palatial garden; 24. Arsenal.

Map 33.2 Isfahan, map with main landmarks of Safavid Isfahan.

Map 33.3 Map of Shahjahanabad, c. 1850. 1. Red Fort; 2. Diwan‐i ʿAmm; 3. Naqqarakhana; 4. Diwan‐i Khass; 5. Urdu bazaar; 6. Lahori gate; 7. Akbarabadi gate; 8. Salimgarh; 9. Chandni Chawk; 10. Caravanserai of Jahanara; 11. Jahanara (Sahibabad) Gardens; 12. Jama‘ Masjid; 13. Faiz bazaar; 14. Khass bazaar; 15. Akbarabadi Masjid; 16. Fatehpuri Masjid and caravanserai; 17. Chawk; 18. Mosque; 19. Temple; 20. Royal Garden; 21. Haveli; 22. City gate.

Figure 33.1 Istanbul, view towards the peninsula from the north, the Süleymaniye complex (1550–1557), the mosque of Rüstem Pasha (c. 1560), and the Tahtakale public bath (c. 1460) in the port area.

Figure 33.2 Isfahan, Maydan‐i Naqsh‐i Jahan, view from the roof of the Qaysariyya: Shaykh Lutfallah mosque on the east, the ʿAli Qapu Palace on the west, and Masjid‐i Jadid‐i ʿAbbasi on the south.

Figure 33.3 Ali Mazhar Khan, Jamaʿ Masjid in Delhi and the Khass bazaar leading to it; c. 1840. Victoria and Albert Museum, IS.482‐1950.

Figure 33.4 Procession of the Bedestan merchants and their apprentices in the Atmeydanı during the circumcision festival of 1582, with the Ibrahim Pasha palace and its royal loggia in the upper register, Intizami, Surname‐i Humayun, c. 1587.

Figure 33.5 Isfahan, Maydan‐i Naqsh‐i Jahan. Washed pen drawing by G. Hofsted van Essen (1703) 420 × 712 mm (with caption). Leiden, University Library, COLLBN Port. 314‐I N 58.

Vol2-c34

Figure 34.1 Isfandiyar slays a dragon, from a Shahnama of Firdawsi, produced for Shah Tahmasp, Tabriz, Iran c. 1530.

Figure 34.2 Humayun with Shah Tahmasp, by Sanwlah, from the Akbarnama of Abuʾl‐Fazl, Mughal, 1603–1604.

Figure 34.3 Sultan Murad III giving audience to Ibrahim Pasha who is about to leave Istanbul for his post as governor of Egypt in Cairo, from the Shahanshanama of Seyyid Lokman, Ottoman, 1592–1598.

Figure 34.4 Abu Jahl (smeared) attempting to hurl a stone onto the Prophet Muhammad at the Kaʿba, from Siyer‐i Nebi of Darir, Istanbul, 1594–1595.

Figure 34.5 Shaykh Safi al‐Din’s dream of the political downfall of the Chupanids, Safwat al‐Safa of Ibn Bazzaz, Shiraz, Iran, 1582.

Figure 34.6 Lady with a Fan, Riza‐yi ʿAbbasi, Isfahan, Iran, c. 1590–1592.

Figure 34.7 Album page including the portrait of Sultan Mehmed II. Portrait attributed to Sinan Beg, Ottoman, c. 1480.

Figure 34.8 Portrait of Shah Jahan standing on the globe, by Hashim, Mughal India, c. 1618–1629.

Vol2-c35

Figure 35.1 Tapestry (Burgundian?), fifteenth century, skirted with fifteenth‐century Italian (probably Venetian) silk velvet with silver‐gilt‐wrapped brocaded wefts. Topkapı Palace Museum, Istanbul. Inv. Nr. :13/1422; l: 457 cm. w: 252 cm.

Figure 35.2 Silk velvet ceremonial robe (kaftan), fifteenth century, Italian (probably Venetian), lined in Istanbul with Ottoman satin. Topkapı Palace Museum, Istanbul. Inv. Nr. :13/500; l : 109 cm.

Figure 35.3 Rock crystal pitcher, fifteenth century, Burgundy; with an encrusted golden lid added, sixteenth century, Ottoman. Topkapı Palace Museum, Istanbul. Inv. Nr. : 2/472.

Figure 35.4 Pietra dura panel decorating the fountain in the bedchamber of Murad III (1578–1579), Harem. Topkapı Palace Museum, İstanbul.

Figure 35.5 Aleppo Room, Museum of Islamic Art at the Pergamon Museum, Berlin. Inv. Nr. : I. 2862. Wood, multilayered painting using a variety of pigments and metal coatings.

Vol2-c36a

Figure 36.1 Belt, Iran, Safavid period, dated 1507–1508, iron, gold, rubies, turquoise, velvet; Istanbul.

Figure 36.2 Textile fragment, Iran, Safavid period, c. 1540, silk; cut and voided velvet with continuous floats of flat metal thread.

Figure 36.3 Polonaise carpet, Iran, Safavid period, seventeenth century, cotton (warp and weft), silk (weft and pile), metal wrapped thread.

Figure 36.4 Plate, Iran, Isfahan, early seventeenth century, stone‐paste painted underglaze.

Vol2-c36b

Figure 36.5 Sash, Iran (possibly Kashan), seventeenth century; compound plain weave, brocaded, silk and metal‐wrapped thread.

Figure 36.6 Aegidius Sadeler II, Portrait of Anthony Sherley, Prague, 1601; engraving.

Figure 36.7 Aegidius Sadeler II, Portrait of Husayn ‘Ali Beg, Prague, 1601; engraving.

Figure 36.8 Casket, Italy (Venice), end of sixteenth century; rock crystal, lacquered wood, gilt silver and bronze.

Figure 36.9 Panel with birds and flowering vines, Iran, first half of seventeenth century; compound plain weave, silk and metal‐wrapped thread.

Vol2-c37

Figure 37.1 Silk panel from a chasuble, Nasrid, Spain, Granada, probably fourteenth century. 138.5 × 75 cm.

Figure 37.2 Silk serenk panel from a garment, Ottoman, Istanbul, late sixteenth century. 126.5 × 69 cm.

Figure 37.3 Silk mantle for a statuette of the Virgin Mary, Mamluk, fourteenth century. 70.5 × 111.1 cm.

Figure 37.4 Cut and voided silk velvet interior tent ornament, Safavid, Iran, mid‐sixteenth century. Diameter: 97 cm.

Figure 37.5 Wool knotted‐pile carpet with pictorial design, Mughal, north India, c. 1590–1600. 243 × 154 cm.

Vol2-c38

Map 38.1 Map of maritime Southeast Asia indicating places mentioned.

Figure 38.1 Structural distinction between the tajug hall (mosque), wantilan (cockfighting pavilion), and meru (deity tower).

Figure 38.2 Roof ornaments and symbolism. (a) Memolo finial ornament from one of the pavilions in Kudus complex, Central Java. (b) Mustaka finial and Perabung Som ridge ornament, Pengkalan Rama mosque, Melaka.

Figure 38.3 Roof form. (a) Banten royal mosque, North Coast (Pesisir) West Java, miniature upper tiers of the tajug roof. (b) Limo Kaum mosque, West Sumatra, Minangkabau roof form and central tower. (c) Lubuk Bauk mosque, West Sumatra, Minangkabau roof form with four projecting gables and central tower.

Figure 38.4 Kraton Kasepuhan (palace complex) in Cirebon, West Java. (a) Central column of Langgar Alit, private royal prayer hall in Kraton Kasepuhan. (b) Five‐columned pavilion in the Siti Hinggil court, Kraton Kasepuhan. (c) The Sang Cipta Rasa royal mosque of Kraton Kasepuhan. (d) Plan of Kraton Kasepuhan and the alun‐alun royal square of Cirebon, with Sang Cippta Rasa mosque.

Figure 38.5 Royal funerary stone monuments from Makassar, South Sulawesi. (a) Mausoleum buildings around Katangka mosque. (b) Tall grave in Tallo’ Citadel.

Figure 38.6 Ornament. (a) Ornamental brick patterns and ceramic plate inserts, Siti Hinggil compound wall, Kraton Kasepuhan, Cirebon, West Java. (b) Terracotta medallions on the brick wall of Sang Cipta Rasa royal mosque of Kraton Kasepuhan, Cirebon, West Java. (c) Stone medallions of Mantingan mosque, near Jepara, Central Java. (d) Blue‐and‐white custom‐made Vietnamese wall tiles at Demak, Central Java. (e) Ceramic plates in plasterwork decorative schema, Kraton Kasepuhan gateway, Cirebon, West Java.

Figure 38.7 Kudus minaret and several old brick gateways to the complex, Central Java.

Vol2-c39

Figure 39.1 Artesonado at the Church of San Francisco in Tlaxcala, Mexico.

Figure 39.2 Artesonado at the Church of San Francisco in Quito, Ecuador.

Figure 39.3 Artesonado at the Church of San Pedro Apóstol, Andahuaylillas, Peru.

Figure 39.4 Fray Andrés de San Miguel, Breve compendio de la carpintería de lo blanco. (ms. G73).

Figure 39.5 Choir stalls at the Cathedral of Puebla, Mexico.

Figure 39.6 Miguel Mauricio (attributed). Tablón de Tlatelolco, Church of Santiago Tlatelolco, Mexico City.

Figure 39.7 The Defense of the Eucharist.

Figure 39.8 Saint James, Moxos, Bolivia.

Vol2-c40

Figure 40.1 Moti Masjid, Delhi, c. 1659–1663.

Figure 40.2 Interior, Moti Masjid, Delhi, c. 1659–1663.

Figure 40.3 Bibi ka Maqbara, mausoleum of Rabiʿa Daurani, Aurangabad, 1660–1661.

Figure 40.4 Mausoleum of Safdar Jang, Delhi, 1753–1754.

Figure 40.5 Muhammad Shah Celebrating Holi, Bhupal Singh, c. 1737, Bodleian Library, University of Oxford, MS Douce Or. b.3, no. 22.

Figure 40.6 Akbar II in Darbar with the British Resident Charles Metcalfe in Attendance, attr. Ghulam Murtaza Khan, c. 1810–1811, Cincinnati Art Museum, The William and Louise Taft Semple Collection, 1962.458.

Figure 40.7 View of the Qutub Minar, c. 1815–1820, Ghulam ‘Ali Khan. Wellcome Library no. 579943i.

Figure 40.8 Zafar in Captivity, May 1858, British Library Photo 797/37.

Vol2-c41

Figure 41.1 Main façade of one of the three talars in the citadel of Karim Khan (arg‐i karim khan), Shiraz, 1766–1767.

Figure 41.2 Main façade of Fath ʿAli Shahʾs Imarat‐i Takht‐i Marmar, Golestan Palace, Tehran, 1806.

Figure 41.3 View of rock cut depicting Fath ʿAli Shah on the throne, inside the Sasanian grotto of Taq‐i Bustan, Kirmanshah, nineteenth century.

Figure 41.4 Main façade of Bagh‐i Ferdows House, northern Tehran, 1840s.

Figure 41.5 Front façade of the police prefecture (shahrbani) in Darband, northern Tehran, c. 1935.

Vol2-c42

Figure 42.1 Tophane Coffeehouse, Istanbul, by Antoine‐Ignace Melling.

Figure 42.2 Coffeehouse of Ipşir Pasha, Aleppo, street side elevation.

Figure 42.3 Public garden and fountain at Emirgan, by William Bartlett after an engraving by J. Cousen.

Figure 42.4 Photograph showing Sahat al‐Burj in Beirut, c. 1898–1914.

Figure 42.5 Jardin de l’Esbékieh (Azbakiyya Garden). Albumen print attributed to Félix Bonfils (1860s–1880s).

Vol2-c43

Figure 43.1 Mosque of Süleyman Pasha al‐Khadım, 1528, Cairo.

Figure 43.2 Public fountain of Mahmud I, Tophane, 1732, Istanbul.

Figure 43.3 Fountain of Mustafa III, 1759–1760, Cairo.

Figure 43.4 View looking towards the Nusretiye Mosque, Tophane, c. 1890–1900, Istanbul.

Figure 43.5 (a) Sir David Wilkie, Highness Muhemed Ali, Pacha of Egypt, 1841. Oil on board, 610 × 508 mm.

Figure 43.6 Albert Goupil, Photograph of Munastirli Palace, Rawda, built c. 1850, Cairo, 1868

Figure 43.7 Anon., General view of villa Harari, Garden‐City, 1921, Cairo.

Figure 43.8 Vakıf Han built by Mimar Kemalettin, 1912–1914, Istanbul.

Vol2-c44

Figure 44.1 Installation of Islamic collections at the Ottoman Imperial Museum, Istanbul, 1891. Müze‐i Hümayun.

Figure 44.2 Maison Bonfils, Interior of the Museum of Arab Art, display of mashrabiyya screens, c. 1883–1889.

Figure 44.3 Installation of Islamic collections at the Süleymaniye Mosque complex, c. 1914.

Figure 44.4 Installation of Islamic collections at the Tiled Pavilion of the Ottoman Imperial Museum, 1909.

Figure 44.5 Museum of Arab Art, Cairo. Ninth Hall (Metal Work).

Vol2-c45

Figure 45.1 Le Palais Persan, Exposition Universelle, Paris, 1878.

Figure 45.2 Cairo Street, Exposition Universelle, Paris, 1889.

Figure 45.3 Exhibition of Persian and Arab Art, Burlington Fine Arts Club, London, 1885.

Figure 45.4 English tourist acquiring antiques.

Figure 45.5 Excavations in the plain of Rayy. Aerial view taken June 1, 1936, at 5.40 a.m. The honeycombed patches are the results of commercial diggings.

Vol2-c46

Figure 46.1 Muslim Art in Paris, photographic view of a room of the Exposition des arts musulmans, Paris, Palais de l’Industrie, 1893.

Figure 46.2 Jules Bourgoin, Epure 71, Les Eléments de l’art arabe. Le trait des entrelacs, Paris, 1879.

Figure 46.3 Owen Jones, Moresque no. 5,

Figure 46.4 Paul Klee, Structural I, 1924, gouache on paper, 28.6 × 14 cm, New York.

Vol2-c47

Figure 47.1 I.M. Pei (Pei Cobb Freed & Partners). Museum of Islamic Art in Doha, Qatar, 2008.

Figure 47.2 Façade of al‐Aqmar Mosque (1125), Cairo, after restoration in the 1990s.

Figure 47.3 Cesar Pelli. The Petronas Towers in Kuala Lumpur, 1991.

Figure 47.4 Minaret of the Great Mosque of Aleppo (1090), seen from the courtyard, before its destruction on 23 April 2013.

Vol2-c48

Figure 48.1 Jumeirah Mosque, Hegazy Engineering Consultancy, c. 1979.

Figure 48.2 Al‐Fahidi Fort, renovated c. 1995.

Figure 48.3 Emirates NBD, Carlos Ott in consultation with NORR, 1997.

Figure 48.4 Al‐Kazim Towers, National Engineering Bureau (NEB), 2008.

Figure 48.5 Burj Khalifa, Adrian Smith with Skidmore, Owings, & Merrill, 2010.

Vol2-c49

Figure 49.1 Sedad Eldem, Taşlık Coffee House, Istanbul, Turkey, 1947–1948.

Figure 49.2 Josep Lluís Sert, The chancery building of the US Embassy, Baghdad, Iraq, 1955–1960.

Figure 49.3 Jørn Utzon, Parliament Building, Kuwait City, Kuwait, 1972–1983.

Figure 49.4 New use of mashrabiyya. Top: Arata Isozaki Associates, Qatar Education City, Ceremonial Court, Doha, Qatar, 2004–2008; Bottom: Jean Nouvel, West Bay Towern, Doha, Qatar, 2005–2012.

Figure 49.5 Aybars Aşçı for SOM, Al‐Hamra Firdous Tower, Kuwait City, Kuwait, 2003–2010.

Vol2-c50

Figure 50.1 Ibrahim El Salahi, The Last Sound, 1964. Oil on canvas, 121.5 × 121.5 cm.

Figure 50.2 Ibrahim El Salahi, They Always Appear, 1964–1965. Oil on canvas, 30.5 × 45.5 cm.

Figure 50.3 Sadequain, Untitled, 1960. Oil on canvas, 139.5 × 213.5 cm.

Figure 50.4 Sadequain, Self‐portrait, 1966. Pen and ink on paper. Dimensions n.a.

Figure 50.5 Anwar Jalal Shemza, Roots Three, 1984. Oil on canvas, mounted on silk and hardboard, 30 wide × 40 high cm.

Vol2-c51

Figure 51.1 Yto Barrada, Dormeurs (Sleepers), Figure 2, 2006, photography, 49.21 × 49.21 in.

Figure 51.2 Hassan Khan, Jewel, 2010, 35 mm film transferred to FULL HD video, original music by the artist, suspended screen, projector, audio system, room painted according to certain specifications, 6 min 30 s.

Figure 51.3 Walid Raad, Scratching on Things I Could Disavow, 2007–ongoing, mixed media.

Figure 51.4 Installation view of Walid Raad, On Walid Sadek’s Love is Blind (Modern Art, Oxford, 2006), 2009, acrylic paint.

Figure 51.5 Abdel Hadi el‐Gazzar, Untitled (Face), 1946, conté crayon and colored pencil on paper, 8 × 10 in.

Figure 51.6 Jewad Selim, Majlis al‐Khalifa (Caliph’s Majlis), 1958, oil on canvas, 30.7 × 50 cm. State Museum of Oriental Art, Moscow.

Figure 51.7 Mohamed Melehi, photograph of the 1969 outdoor painting exhibition in Jemaa el‐Fna Square in Marrakech.

Volume I

WILEY BLACKWELL COMPANIONS TO ART HISTORY

These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Wiley Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history.

1 A Companion to Contemporary Art since 1945 edited by Amelia Jones

2 A Companion to Medieval Art edited by Conrad Rudolph

3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton

4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow

5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett

6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà

7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang

8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain

9 A Companion to Digital Art edited by Christiane Paul

10 A Companion to Dada and Surrealism edited by David Hopkins

11 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie

12 A Companion to Islamic Art and Architecture, Volume I and II edited by Finbarr Barry Flood and Gülru Necipoğlu

A Companion to Islamic Art and Architecture

Volume I

From the Prophet to the Mongols

Edited by

Finbarr Barry Flood and Gülru Necipoğlu

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This edition first published 2017

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Library of Congress Cataloging‐in‐Publication Data

Flood, Finbarr Barry, editor. | Necipoğlu, Gülru, editor.

A companion to Islamic art and architecture/edited by Finbarr Barry Flood and Gülru Necipoğlu.

Hoboken : John Wiley & Sons Inc., 2017. | Series: Wiley Blackwell companions to art history | Includes bibliographical references and index.

LCCN 2016051999 (print) | LCCN 2016053442 (ebook) | ISBN 9781119068662 (hardback) | ISBN 9781119068570 (Adobe PDF) | ISBN 9781119068556 (ePub)

LCSH: Islamic art. | Islamic architecture. | BISAC: ART/History/General.

LCC N6260 .C66 2017 (print) | LCC N6260 (ebook) | DDC 709.17/67–dc23

LC record available at https://lccn.loc.gov/2016051999

Cover image: Courtesy of Finbarr Barry Flood.

Cover design by Wiley

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