Islamic Art and Architecture 650-1250

Oleg Grabar is Professor Emeritus of the School of Historical Studies at the Institute for Advanced Study, Princeton, and Marilyn Jenkins-Madina is Research Curator of Islamic Art at The Metropolitan Museum of Art, New York. They were both long-time colleagues of Richard Ettinghausen, who was professor of Islamic Art at the Institute of Fine Arts, New York University, and Consultative Chairman of Islamic Art at The Metropolitan Museum of Art until his death in 1979.

出版者:The Yale University Press Pelican History of Art Series

作者:Richard Ettinghausen

页数:360

出版时间:2003-8-1

价格:$80.00

装帧:Paperback

isbn号码:9780300088694

图书标签:伊斯兰建筑艺术宗教artIslamic英文版艺术史

Selected by Choice as a 2003 Outstanding Academic Title

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.