The Dragon in Medieval East Christian and Islamic Art. BySara Kuehn (Islamic History and Civilization, Volume 86). pp. xiii, 298.Leiden and Boston,Brill,2011.

2014 ◽  
pp. 1-2
Author(s):  
Yuka Kadoi
Keyword(s):  
Islamic Art ◽  
Islamic History

scholarly journals عروض مختصرة

2012 ◽  
Vol 18 (69) ◽  
pp. 216-207
Author(s):  
أسماء حسين ملكاوي
Keyword(s):  
New Media ◽  
Performing Arts ◽  
Global Studies ◽  
Islamic Art ◽  
Yale University ◽  
Islamic History ◽  
New Media Art ◽  
The Gift ◽  
Medieval Islam ◽  
Art And Ethics

تصنيف الفنون العربية والإسلامية؛ دراسة تحليلية نقدية، سيد أحمد بخيت علي، واشنطن: المعهد العالمي للفكر الإسلامي، 2012م، 341 صفحة. مرجعيات القراءة والتأويل عند نصر حامد أبو زيد، اليامين بن تومي، الجزائر: منشورات الاختلاف، ط1، 2011م، 255 صفحة. مساجلات نقدية - ردود وتعقيبات (في الدين والعلمانية والحداثة وقضايا فكرية راهنة)، عبد الله العليان، بيروت: المؤسسة العربية للدراسات والنشر، 2012م، 341 صفحة. تعارف الحضارات، إعداد: زكي الميلاد، دمشق: دار الفكر المعاصر، 2007م، 224 صفحة. الأسس الفلسفية للحداثة - دراسة مقارنة بين الحداثة والإسلام، صدر الدين القبّانجي، بيروت: مركز الحضارة لتنمية الفكر الإسلامي، 2011م، 415 صفحة. طه عبد الرحمن ونقد الحداثة، بو زبرة عبد السلام، بيروت: جداول للنشر والتوزيع، 2011م، 279 صفحة. مشروع الإبداع الفلسفي العربي؛ قراءة في أعمال د. طه عبد الرحمن، يوسف بن عدي، بيروت: الشبكة العربية للأبحاث والنشر، 2011م، 222 صفحة. طه عبد الرحمن.. قراءة في مشروعه الفكري، إبراهيم مشروح، بيروت: مركز الحضارة لتنمية الفكر الإسلامي، سلسلة أعلام الفكر والإصلاح في العالم الإسلامي، 2009م، 263 صفحة. الإسلام والحضارات الأخرى، محمد عمارة، القاهرة: دار السلام للطباعة والنشر والتوزيع والترجمة، 2012م، 104 صفحة. الدين والمتغيرات الثقافية المعاصرة؛ الحداثة - العلمنة – العولمة، علي رضا شجاعتي زند، بيروت: مركز الحضارة لتنمية الفكر الإسلامي، 2012م، 180 صفحة. الإسلام والتعددية:الاختلاف والتنوع في إطار الوحدة، محمد عمارة، القاهرة: دار السلام للطباعة والنشر، 2011م، 272 صفحة. الإسلام وما بعد الحداثة: الوعود والتوقعات، أكبر صلاح الدين أحمد، بيروت: مركز الحضارة لتنمية الفكر الإسلامي، 2009م، 536 صفحة. The Gift Tradition in Islamic Art, Linda Komaroff, UK- Yale University Press (September 28, 2012), 160 pages. Islam Art & Architecture, Markus Hattstein (Editor), Peter Delius (Editor), ULLMANN (October 12, 2011), 640 pages. The Performing Arts in Medieval Islam (Islamic History and Civilization), Li Guo, BRILL (January 1, 2012), 324 pages. Islamic Art and Visual Culture: An Anthology of Sources, Fairchild Ruggles, Wiley-Blackwell; 1 edition (May 3, 2011), 200 pages. Picturing Islam: Art and Ethics in a Muslim Lifeworld, Kenneth M. George, Wiley-Blackwell; 1 edition (January 26, 2010), 184 pages. Wonder, Image, and Cosmos in Medieval Islam, Persis Berlekamp, Yale University Press (May 17, 2011), 224 pages. Creative Encounters: Artists Engaged in Interreligious Dialogue (Cross Cultural Theologies), Ruth Illman, Equinox Publishing Limited (May 31, 2012), 208 pages. Enfoldment and Infinity: An Islamic Genealogy of New Media Art, Laura U. Marks, The MIT Press (August 13, 2010), 408 pages. Thinking about Thinking: What Kind of Conversation is Philosophy? Adriaan T. Peperzak, Fordham University Press (March 14, 2012), 216 pages. Interculturalism, Education and Dialogue (Global Studies in Education), Tina Besley, Michael A. Peters, Peter Lang Publishing; First printing edition (April 13, 2012), 416 pages. Culture and Dignity: Dialogues Between the Middle East and the West, Laura Nader, Wiley-Blackwell; 1 edition (October 23, 2012), 272 pages. للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF  في اعلى يمين الصفحة.

Islamic Art and Architecture in The Encyclopaedia of Islam, 2nd ed.

1994 ◽  
Vol 28 (2) ◽  
pp. 158-162
Author(s):  
Sheila S. Blair ◽  
Jonathan M. Bloom
Keyword(s):  
Visual Arts ◽  
Late Summer ◽  
Islamic Art ◽  
Islamic Culture ◽  
Islamic History ◽  
The People ◽  
History Of ◽  
Islamic Civilization ◽  
Art And Architecture ◽  
Reference Tool

The second edition of The Encyclopaedia of Islam (EI/2), published since 1954 by E.J. Brill in Leiden, is well known as an unparalleled scholarly reference for the history and culture of the Islamic lands. By late summer 1994, the Encyclopaedia had reached the entry Riḍā Shāh in the middle of the eighth volume. The volumes, each approximately 1000 pages long, are lodes of information about the people, places, events and ideas of Islamic history and thought; but simply by handling the volumes, a reader would never realize that the visual arts were an important component of Islamic culture. There are very few illustrations, none of them in color. Even to the most unsophisticated eye, EI/2 is a dense, ponderous, and user-antagonistic reference tool. Nevertheless, it is a useful resource for the history of art and architecture in the Islamic lands, particularly to those who already know something about Islamic civilization, although the reader must be an experienced miner to discover the ore-bearing strata.

Editors’ Introduction

2020 ◽  
pp. xii-16
Author(s):  
Bethany J. Walker ◽  
Timothy Insoll ◽  
Corisande Fenwick
Keyword(s):  
Art History ◽  
Global Scale ◽  
Islamic Art ◽  
Islamic History ◽  
Islamic World ◽  
Growing Body ◽  
Conceptual Problems ◽  
Islamic Archaeology ◽  
Historical Periods

The following Foreword, written by the three co-editors of this Handbook, situates the field of Islamic archaeology as it is practiced today in the larger study of the Islamic world. It also positions this Handbook in a growing body of scholarship on the archaeology of Islam. The special challenges faced by a newly emerging field, and one that is concerned with relatively recent historical periods and is quite literally global in scale, is presented in honest debate. The relationships of Islamic archaeology with Islamic art history and Islamic history are problematized, and the conceptual problems of Islamization and periodization explicated are and explored. The Foreword closes with a justification for the global scale of this Handbook, which determines its geographical organization.

The Missing Body

2022 ◽  
Author(s):  
Hatem N. Akil
Keyword(s):  
Daily Life ◽  
The Body ◽  
Islamic Art ◽  
Islamic History ◽  
Figurative Art

This chapter considers the presumed absence of figurative representations in Islamic art, which to some is yet another indication of Islam’s inability to face and represent reality (accept modernity) – as opposed to the body-centric aesthetics of the Renaissance. It is discovered that Islamic history in fact overflows with examples of representations of sentient life. The contrast between Islam’s figurative art (as secular) and abstract and geometric art (as sacred) should not be seen as contradictory, but as a case of cultural simultaneity, which reflects an Islamicate daily life that has always been both religious and secular at the same time.

Gendering Emotions: Ṭarab, Women and Musical Performance in Three Biographical Narratives from ‘The Book of Songs’

2019 ◽  
Vol 8 (2) ◽  
pp. 164-183
Author(s):  
Karen Moukheiber
Keyword(s):  
Formative Period ◽  
Musical Performance ◽  
Ruling Elite ◽  
Islamic History ◽  
Musical Performances ◽  
Slave Women ◽  
Social Conduct ◽  
Literary Biographies ◽  
The One ◽  
The Book Of Songs

Musical performance was a distinctive feature of urban culture in the formative period of Islamic history. At the court of the Abbasid caliphs, and in the residences of the ruling elite, men and women singers performed to predominantly male audiences. The success of a performer was linked to his or her ability to elicit ṭarab, namely a spectrum of emotions and affects, in their audiences. Ṭarab was criticized by religious scholars due, in part, to the controversial performances at court of slave women singers depicted as using music to induce passion in men, diverting them from normative ethical social conduct. This critique, in turn, shaped the ethical boundaries of musical performances and affective responses to them. Abū l-Faraj al-Iṣfahānī’s tenth-century Kitāb al-Aghānī (‘The Book of Songs’) compiles literary biographies of prominent male and female singers from the formative period of Islamic history. It offers rich descriptions of musical performances as well as ensuing manifestations of ṭarab in audiences, revealing at times the polemics with which they were associated. Investigating three biographical narratives from Kitāb al-Aghānī, this paper seeks to answer the following question: How did emotions, gender and status shape on the one hand the musical performances of women singers and on the other their audiences’ emotional responses, holistically referred to as ṭarab. Through this question, this paper seeks to nuance and complicate our understanding of the constraints and opportunities that shaped slave and free women's musical performances, as well as men's performances, at the Abbasid court.

SENTRALISASI ISLAM MARJINAL

2017 ◽  
pp. 83-112
Author(s):  
Lukmanul Hakim
Keyword(s):  
Primary Sources ◽  
Historical Criticism ◽  
Islamic History ◽  
Ibn Khaldun ◽  
Historical Method ◽  
The Third ◽  
Work First

This paper aims to analyze the thoughts of Hamka in Malay Islamic Nysties Historiography. The method used is historical method, especially historiography approach. Characteristic of Hamka's work; First, writing techniques; Not using footnotes, style of language; Simple, alive, and communicative. The sources used by Hamka can be grouped into three groups; Primary sources, historical books composed by Muslim authors themselves; Second, the second source of material is the Dutch and British writers' writings on Indonesia and the Malay Land; Third, the third source of material materials that allegedly most of the writers of Islamic history in Indonesia did not get it. While from the Method of Historical Criticism, according to Hamka there are two ways to write history among Muslims; First collecting all the facts wherever it comes from, no matter whether the facts make sense or not, what needs to be taken care of is where this history is received. Second, judging the facts and giving their own opinions, after the facts were collected, this is the system used by Ibn Khaldun.

Epistemologi Pendidikan Islam: Melacak Metodologi Pengetahuan Perguruan Tinggi Islam Klasik

1970 ◽  
Vol 13 (3) ◽  
pp. 453-473
Author(s):  
Musnur Hery
Keyword(s):  
Higher Education ◽  
Learning Process ◽  
Education Level ◽  
Formal Institutions ◽  
Islamic History ◽  
Formal Institution

Islamic higher college not only limited to higher education that famous at Islamic history like madrasah (e.g. Nizamiyah), and al-Jami’ah (e.g. al-Azhar). Yet, Islamic higher college is the implementation of learning process that can be categorized in higher education stage, that being practiced in Moslem society, even still in non-formal or informal form before madrasah existence. Several epistemologies branch indeed take place at formal institution, while some epistemologies branch theoretically applied at formal institution, but it’s practiced at non-formal institutions. These non-formal institutions were still reflecting Islamic higher education level. 

Rashid Rida’s Struggle to Establish A Modern Islamic State

1984 ◽  
Vol 1 (1) ◽  
pp. 83-99
Author(s):  
Assad N. Busool
Keyword(s):  
Tenth Century ◽  
Muslim World ◽  
Reform Movement ◽  
Islamic State ◽  
Reform Movements ◽  
Islamic History ◽  
Central Concern ◽  
Arab Muslim ◽  
The World ◽  
Physical Presence

Reform movements are important religious phenomena which haveoccurred throughout Islamic history. Medieval times saw theappearance of religious reformers, such as al-Ghazali, Ibn Taimiyah,Ibn Qayim al-Jawziyah and others; however, these reform activitiesdiffered significantly from the modern reform movement. The medievalreformers worked within Muslim society; it was not necessary to dealwith the external challenge presented by Europe as it was for themodern Muslim reformers after the world of Islam lost its independenceand fell under European rule. The powers of Europe believed that Islamwas the only force that impeded them in their quest for world dominanceand, relying on the strength of their physical presence in Muslimcountries, tried to convince the Muslim peoples tgat Islam was ahindrance to their progress and development.Another problem, no less serious than the first, faced by the modernMuslim reformers was the shocking ignorance of the Muslim peoples oftheir religion and their history. For more than four centuries,scholarship in all areas had been in an unabated state of decline. Thosereligious studies which were produced veered far from the spirit ofIslam, and they were so blurred and burdened with myths and legends,that they served only to confuse the masses.The ‘Ulama were worst of all: strictly rejecting change, they still hadthe mentality of their medieval forebearers against whom al-Ghazali,Ibn Taimiyah and others had fought. Hundreds of years behind thetimes, their central concern was tuqlid (the imitation of that which hadpreceeded them through the ages). For centuries, no one had dared toquestion this heritage or point out the religious innovations it impaired.In conjunction with their questioning of the tuqlid, the modernreformers strove to revive the concept of ijtihad (indmendentjudgement) in religious matters, an idea which had been disallowedsince the tenth century. The first to raiseanew the banner of $tihad inthe Arab Muslim world was Sayyid Jamal al-Din al-Afghani; after himSheikh Muhammad ‘Abduh in Egypt, and after him, his friend and ...

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