Islamic Art

1984 ◽  
pp. 8
Author(s):  
Stuart Cary Welch ◽  
Carolyn Kane
Keyword(s):  
Islamic Art

Pattern in Islamic Art. David Wade

1976 ◽  
Vol 4 (3) ◽  
pp. 102-103
Author(s):  
Robin Kaplan
Keyword(s):  
Islamic Art

What is ‘Islamic’ Art?

Art History ◽  
2021 ◽  
Vol 44 (4) ◽  
pp. 864-866
Author(s):  
Tamimi Arab Pooyan
Keyword(s):  
Islamic Art

Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action?

2015 ◽  
Vol 32 (1) ◽  
pp. 213-232
Author(s):  
Eva-Maria Troelenberg
Keyword(s):  
Art History ◽  
Cultural Difference ◽  
Second World War ◽  
Islamic Art ◽  
Methodological Development ◽  
World War ◽  
Taxonomic History ◽  
History Of ◽  
Historical Methods ◽  
Second World

This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kühnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history. 


Islamic Art History: Yesterday, Today, and the Future

2015 ◽  
Vol 1 (1) ◽  
pp. 21
Author(s):  
Catherine B. Asher
Keyword(s):  
Art History ◽  
Islamic Art ◽  
The Future

Islamic Art and Archaeology

1968 ◽  
Vol 2 (3) ◽  
pp. 4-17 ◽  
Author(s):  
Oleg Grabar
Keyword(s):  
The State ◽  
Arts And Crafts ◽  
Islamic Art ◽  
Problems And Solutions ◽  
Fair Degree ◽  
State Of The Field

Like most other fields, the study of Islamic art is both the beneficiary and the victim of its own past. Like many fields, it is affected in various more or less successful ways by developments and needs in related areas of learning. Like all fields, it is tied to the quality and idiosyncrasies of the men who practice it. Inasmuch as bibliographical surveys according to traditional lines of techniques and periods are available (Pearson, Index Islamicus with supplements, London, 1958, 1962, 1968; especially K.A.C. Creswell, A Bibliography of the Architecture, Arts and Crafts of Islam, Cairo, 1961) and current works are listed with a fair degree of completeness in the yearly Abstracta Islamica published by the Revue des Etudes Islamiques, my concern in this paper will be to review the state of the field, the ways in which one can find out about it, and the work being done according to three major categories: traditional techniques and documentation; new problems and solutions; light and dark areas of research.

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