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Islamic art objects --- Objets d'art islamiques --- Congresses. --- Congrès --- Congrès

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"This book argues that the provenance of early modern and medieval objects from Islamic lands was largely forgotten until the "long" eighteenth century, when the first efforts were made to reconnect them with the historical contexts in which they were produced. For the first time, these Islamicate objects were read, studied and classified - and given a new place in history. Freed by scientific interest, they were used in new ways and found new homes, including in museums. More generally, the process of "rediscovery" opened up the prehistory of the discipline of Islamic art history and it had a significant impact on conceptions of cultural boundaries, differences and identity. The book will be of interest to scholars working in the history of art, the art of the Islamic world, early modern history and art historiography"--

Art --- Islamic art objects --- Historiography --- Art islamique. --- Objets d'art islamiques. --- Historiographie --- Provenance. --- Appreciation --- Historiography. --- History --- Historiographie.

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The Aron Collection is an important English private collection of Islamic metalwork, known in part through a monograph study conducted a number of years ago by James W. Allan, dealing with a then total of 44 objects. The collection has continued to grow and now includes a remarkable compilation of Islamic magic bowls, almost all in good condition. These represent a precious source for expanding knowledge on this entire class of vessels, whose production continued up to quite recent times. The generic term 'magic' has historically been applied to a particular type of bowl, in brass or copper alloy, of various forms and manufactures, independently of their potential functions within the specific cultural-historic contexts. Their commonality lies in the massive presence of inscriptions in Arabic, more rarely in Persian, and of pseudo-texts executed in unintelligible alphabets, of numerie, alphabetic and alphanumeric sequences, of magic squares and grids, symbols, as well as a rich repertoire of images. Texts, symbols and iconographies are incised on the exterior and interior, in a manner that often carpets the surfaces, enclosed in frames, cartouches and medallions, and assembled in geometrie and geometric-vegetai compositions. In 2010, the collection owner requested Michele Bernardini and the current author to prepare a catalogue of the entirety of the magie bowls, a work which is now nearing publication. However the two authors also decided to prepare monograph studies of two specific categories of the bowls: the former scholar basing his research on the 21 Aron specimens of Iranian production, and the latter on the 14 items produced in the near eastem area. In this way it would be possible to provide the necessary in-depth examination of the morphological, decorative and functional traits associated with these two broad categories. The 14 bowls presented in this volume are the ones of hemispheric form, generally of very small dimensions, composing a category identified as 'magic-therapeutic', given the consistent presence of an Arabic text that provides precise information concerning the curative functions of the object, its powers and beneficial properties, and sometimes its means of use. The decorative architecture of these bowls is peculiar, and indicative of future fortune, being inspired by the structure of the cosmos. In fact the design is almost always construeted on the basis of a number of concentric circles and medallions, incised on one or both of the inner and outer surfaces. The arrangement of the medallions, whether with or without figurative representations, quite plainly suggests the positions of the sun, planets and zodiac constellations. The pseudo-inscriptions and alphanumeric sequences, evidently empowered with strong magical and apotropaic virtues, are almost always more numerous than the inscriptions of comprehensible meaning, and are visually emphasized by the incision of rigidly inscribed underlining.

Objets d'art islamiques --- Arts du métal --- Coupes --- Amulettes islamiques --- Aron, A. T. - Collections d'art - Catalogues --- Collections privées --- Catalogues.

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With flagship architecture by I. M. Pei, an interior designed by J.-M. Wilmotte, and one of the world's finest collections of its type, the Museum of Islamic Art in Doha, Qatar, is a dazzling showcase of the artistic achievements of the Islamic world. The collection represents the highest expression of artistic culture, covering lands from Spain to Central Asia and India, and ranging in date from the early Islamic period to the nineteenth century, including metalwork, miniatures, carpets, calligraphy and ceramics.00Published to coincide with the re-opening of the museum galleries, this book brilliantly conveys the quality and significance of the Museum of Islamic Art collection, presenting impressive images of objects alongside new research and discoveries by the museum curatorial team. Also including thirty-seven specially commissioned essays by scholars of Islamic Art, Museum of Islamic Art: The Collection is an outstanding and detailed contribution to the field.

Objets d'art islamiques --- Art islamique. --- Islamic art --- Islamic art objects --- Islamic art. --- Islamic art objects. --- Musée d'art islamique --- Museum of Islamic Art (Dawḥah, Qatar) --- Qatar --- Museum of Islamic Art (Dawḥah, Qatar) --- Musée d'art islamique