This is the definitive survey of Islamic architecture. Working from a social, rather than a technical perspective, Hillenbrand shows how the buildings fulfilled their intended functions within the community. Lavishly illustrated.
A guide to the architecture, calligraphy, ceramics, and other arts of Islam covers a thousand years of history and an area stretching from the Atlantic to the borders of India and China
Professor Robert Hillenbrand's writings on Islamic art and architecture cover a wide range, from the seventh to the nineteenth centuries, and from Spain to India. The multiplicity of approaches to the search for meaning in Islamic art, as presented in this volume, mirrors the broad range of his scholarship."--Jacket.
The studies collected in this volume, some of them rather difficult of access, date mostly from the last fifteen years and focus primarily on Persian book painting of the 14th to the early 16th centuries. In this period Iran dominated the art of book painting in the Islamic world. The articles reprinted here examine various aspects of this, the golden age of Persian painting. They range from the period of Mongol rule, when the impact of Far Eastern themes and modes radically transformed the heritage bequeathed to Iran by Arab painting - a textbook case of the clash of civilisations - to the dawn of the modern era and the swansong of the classical style of Persian painting under the early Safavids. Yet other articles focus on the roots of book painting in the themes and styles developed in painted ceramics, on medieval Qur'anic calligraphy, on bookbinding and on the remarkably original variations played on the hitherto hackneyed theme of the figural frontispiece by Arab painters. Two major leitmotifs are explored in this selection of essays. One is provided by the constantly varying interpretations of the Shahnama (The Book of Kings), the Persian national epic, and especially the tendency of painters to interpret this familiar text in terms of contemporary politics. The other is the interplay of text and image, which highlights the tendency of painters to strike out on their own and to leave the literal text progressively further behind while they develop plots and sub-plots of their own. These enquiries are set within the context of a concerted effort to explore in detail how Persian painters achieved their most spectacular visual effects. In its combination of general surveys and closely focused analyses of individual manuscripts, this collection of articles will be of interest to specialists in book painting and in Islamic art as a whole.
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
Islamic artists channelled their energies not into easel painting and large-scale sculpture, but rather into what Western scholars, obeying a very different hierarchy of art forms, rather disparagingly term the decorative arts or even the minor arts. In point of fact, some of the greatest masterpieces of Islamic art are in the media of ceramics, metalwork, textiles, ivory and glass. Often the images they bear express a complex set of meanings, for Islam inherited much material from the iconographic systems of earlier civilizations, notably those of the ancient Near East and of the classical world. Islam also developed its own distinctive vocabulary of signs and symbols. Accordingly, questions of iconography and meaning bulk large among the studies gathered together in the present volume. These studies, written over a period of almost thirty years, and taken from a wide variety of published sources, deal with aspects of the decorative arts from Spain to India and from the 7th to the 17th century. They focus in turn upon ceramics and metalwork; on coins, carpets and calligraphy; and on carving in wood and ivory. They are arranged under three headings. The first comprises general surveys of the field covering the content of these arts and confronting the challenges they present, such as the Islamic approach to three-dimensional sculpture. The second deals with questions of iconography and meaning, while the third comprises a series of studies devoted to specific media such as ivory, woodwork and numismatics. This volume therefore offers not only a general introduction to some of the problems posed by Islamic art, but also readings of key objects in an attempt to explore their meaning; and finally, an in-depth focus on individual objects representing specific genres and media.
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
For many centuries, the history of the crusades, as written by Western historians, was based solidly on Western sources. Evidence from the Islamic societies that the crusaders attacked was used only sparingly – in part because it was hard for most westerners to read, and in part because much of it was inaccessible even for historians who did speak Arabic. Carole Hillenbrand set out to re-evaluate the sources for the crusading period, not only looking with fresh eyes at known accounts, but also locating and utilizing new sources that had previously been overlooked. Her work involved her in conducting extensive evaluations of the new sources, assessing their arguments, their evidence, and their reasoning in order to assess their value and (using the critical thinking skill of analysis, a powerful method for understanding how arguments are built) to place them correctly in the context of crusade studies as a whole. The result is not only a history that is more balanced, better argued and more adequate than most that have gone before it, but also a work with relevance for today. At a time when crusading imagery and mentions of the current War on Terror as a ‘crusade’ help to fuel political narrative, Hillenbrand's evaluative work acts as an important corrective to oversimplification and misrepresentation.
This book examines the lawmaking bodies of the United states and the Germany and their constitutional duties and limitations. It is a first ever joint US-German parliamentary study that compares and contrasts two of the democratic West's most powerful legislatures.
The study of Latin can be a difficult for some students new to theological research. This book will be an essential tool for acquiring a basic reading knowledge of ecclesiastical Latin. The texts they translate will be common texts they will encounter as theology students and as priests or deacons: common prayers, liturgical, biblical, patristic and medieval theological texts, as well as some hymn texts. For most students, the lessons in this book will be their only exposure to Latin. For those who may wish to learn more, it will provide a solid foundation for further study. Rome has indicated that seminarians of the Roman rite should have at least some familiarity with Latin and the Latin theological tradition. Graduate students in theology and scripture also may be required to have a reading knowledge of a classical language. Reading Church Latin can be used either as a class text or a resource for independent study. In each lesson, the grammar and syntax encountered in the Latin reading are explained. The exercises provide a way to reinforce the learned grammar, syntax and vocabulary of each lesson. Students will be able to deal competently with or at least understand the basic meaning of untranslated Latin readings and have the ability to compare a text that they translate to its original. Reading Church Latin also contains a Glossary, an Answer Key to the exercises, and a useful Morphology.
The Sacrament of Reconciliation is a comprehensive and accessible resource for undergraduate, graduate, and seminary courses on the Sacrament of Reconciliation. It offers an overview of the sacrament in terms of its anthropological, scriptural, historical, and theological roots as well as an analysis of the key components of the sacrament itself (matter, form, minister, recipient, etc.). With the knowledge of a theologian and the skill of an historian, Robert Fastiggi links the Sacrament of Penance to its anthropological foundations, grounded in the recognition of human failure and the need for forgiveness. This anthropological foundation includes a brief overview of how non-biblical religions deal with sin and purification as well as the revelation of the human need for reconciliation presented in Sacred Scripture. He carefully unwraps the Old Testament and New Testament narratives that cover original sin, human rebellion, the need for reconciliation, conversion, forgiveness, and the remission of sin. Dr. Fastiggi understands the sacrament in the context of spirituality or ascetical and mystical theology. His section on the Sacrament of Penance in Church history lays out comprehensive overview of the development in the sacrament of Penance from the Patristic period to the period immediately before Vatican II. At the heart of the new evangelization is the proclamation of Christ, who has come into the world to reconcile sinful human beings with the transcendent love of God. For those living today in a post-Christian world, the powerful message of God’s merciful love expressed through the sacrament of reconciliation is a most valuable way of knowing the “joy of the Gospel.”
Andrew Carnegie is remembered as one of the world's great philanthropists. As a boy, he witnessed the benevolence of a businessman who lent his personal book collection to laborer's apprentices. That early experience inspired Carnegie to create the "Free to the People" Carnegie Library in 1895 in Pittsburgh, Pennsylvania. In 1896, he founded the Carnegie Institute, which included a music hall, art museum, and science museum. Carnegie deeply believed that education and culture could lift up the common man and should not be the sole province of the wealthy. Today, his Pittsburgh cultural institution encompasses a library, music hall, natural history museum, art museum, science center, the Andy Warhol Museum, and the Carnegie International art exhibition. In Palace of Culture, Robert J. Gangewere presents the first history of a cultural conglomeration that has served millions of people since its inception and inspired the likes of August Wilson, Andy Warhol, and David McCullough. In this fascinating account, Gangewere details the political turmoil, budgetary constraints, and cultural tides that have influenced the caretakers and the collections along the way. He profiles the many benefactors, trustees, directors, and administrators who have stewarded the collections through the years. Gangewere provides individual histories of the library, music hall, museums, and science center, and describes the importance of each as an educational and research facility. Moreover, Palace of Culture documents the importance of cultural institutions to the citizens of large metropolitan areas. The Carnegie Library and Institute have inspired the creation of similar organizations in the United States and serve as models for museum systems throughout the world.
Fighting to Preserve a Nation’s Soul examines the relationship between religion, race, and the War on Poverty that President Lyndon Johnson initiated in 1964 and that continues into the present. It studies the efforts by churches, synagogues, and ecumenical religious organizations to join and fight the war on poverty as begun in 1964 by the Office of Economic Opportunity. The book also explores the evolving role of religion in relation to the power balance between church and state and how this dynamic resonates in today’s political situation. Robert Bauman surveys all aspects of religion’s role in this struggle and substantially discusses the Roman Catholic Church, mainline Protestant churches, Jewish groups, and ecumenical organizations such as the National Council of Churches. In addition, he pays particular attention to race, showing how activist priests and other religious leaders connected religion with the antipoverty efforts of the civil rights movement. For example, he shows how the Interreligious Foundation for Community Organization (IFCO) exemplifies the move toward ecumenism among American religious organizations and the significance of black power to the evolving War on Poverty. Indeed, the Black Manifesto, issued by civil rights and black power activist James Forman in 1969, challenged American churches and synagogues to donate resources to the IFCO as reparations for those institutions’ participation in slavery and racial segregation. Bauman, then, explores the intricate and fundamental connection between religious organizations, social movements, and community antipoverty agencies and expands the argument for a long War on Poverty.
Artist Jila Peacock has made calligraphic drawings of ten poems by the 14th Century Persian poet Hafez. This book consists of an introductory essay, the poems and calligraphic drawings of the poems.
Meticulously analysing 15 beautifully decorated Arabic and Persian manuscripts, Cailah Jackson traces the development of calligraphy and illumination in late medieval Anatolia before the rise of the Ottoman Empire.
Writer and editor Robert A. Parker has followed up his six-volume A Literary Cavalcade with a seventh volume. This volume of criticism covers mainly the fiction he has read from 2013 to early 2017. His comments are informed by his Jesuit upbringing but also by an independent critical view that balances a moral and literary sensibility. The writers here represent a broad range of writing styles, cultural influences, and moral philosophies. And all are rated on their literary achievement, the effectiveness of plot, character, and setting, plus their recognition of the moral, ethical, and spiritual values of mankind. Here is a unique critical perspective that measures the meaning of literature against the meaning of life.
The Alhambra, which resembles a fairy tale palace, was constructed by slave labour in an era of economic decline, plague and political violence. Its beautifully decorated halls witnessed many murders. The Alhambra's influence on art, and on literature, Orientalist painting and Granada cinemas, Washington Irving and Borges, has been significant. Robert Irwin helps us to understand that story fully."--Jacket.
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