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Made for the Eye of One Who SeesCanadian Contributions to the Study of Islamic Art and Archaeology |
eBook Available
A groundbreaking study of Islamic art and archaeology conducted by scholars and museum curators in Canada.
Canada has seen the study of Islamic art and archeology grow steadily over the last five decades, with growth in research and teaching across numerous Canadian universities as well as important collections of Islamic art and archaeological materials, most notably at the Royal Ontario Museum and the Aga Khan Museum.
Made for the Eye of One Who Sees uncovers the contributions of scholars and museum curators at Canadian institutions to current scholarship on Islamic art. Employing a wide range of approaches and theoretical perspectives, contributors cover topics from across the Islamic world dating from the eighth century to the present. Subjects include the iconography of architectural design and decoration, the role of Qur’anic inscriptions, the representation of symbolic animals in sculpture, and the interpretation of Persian manuscript painting. The book also juxtaposes modern and contemporary worlds, providing insightful reflections on the early history of the Islamic collections at the Royal Ontario Museum, Matisse’s creative encounter with Byzantine and Islamic visual culture, and the ongoing dialogue between new media and the traditional concepts underpinning Islamic art.
Bringing together recent scholarship on Islamic art, architecture, and archaeology, Made for the Eye of One Who Sees provides an overview of the important contributions Canada is making to this rich and evolving field of study.
Made for the Eye of One Who Sees uncovers the contributions of scholars and museum curators at Canadian institutions to current scholarship on Islamic art. Employing a wide range of approaches and theoretical perspectives, contributors cover topics from across the Islamic world dating from the eighth century to the present. Subjects include the iconography of architectural design and decoration, the role of Qur’anic inscriptions, the representation of symbolic animals in sculpture, and the interpretation of Persian manuscript painting. The book also juxtaposes modern and contemporary worlds, providing insightful reflections on the early history of the Islamic collections at the Royal Ontario Museum, Matisse’s creative encounter with Byzantine and Islamic visual culture, and the ongoing dialogue between new media and the traditional concepts underpinning Islamic art.
Bringing together recent scholarship on Islamic art, architecture, and archaeology, Made for the Eye of One Who Sees provides an overview of the important contributions Canada is making to this rich and evolving field of study.
Details
432 Pages, 8.5 x 10
189 photos, 5 maps, full colour
ISBN 9780228012047
August 2022
Formats: Cloth, eBook
“A book for the times, Made for the Eye of One Who Sees presents an engaging account of the successes and diversity in the field of Islamic art, architecture, and archaeology in Canada.” Alan Walmsley, director of the Materiality in Islam Research Initiative, University of Copenhagen
“Made for the Eye of One Who Sees represents a significant advance in Islamic art and history, bringing new materials and new interpretations into view.” Margaret Graves, Indiana University and author of Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam
“Made for the Eye of One Who Sees represents a significant advance in Islamic art and history, bringing new materials and new interpretations into view.” Margaret Graves, Indiana University and author of Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam
Marcus Milwright is professor of Islamic art and archaeology in the Department of Art History and Visual Studies, University of Victoria.
Evanthia Baboula is assistant professor of arts of the Mediterranean in the Department of Art History and Visual Studies, University of Victoria.
Evanthia Baboula is assistant professor of arts of the Mediterranean in the Department of Art History and Visual Studies, University of Victoria.
Foreword vii
Josh Basseches
Acknowledgments ix
Note to the Reader xi
Treasures from the Islamic World at the Royal Ontario Museum xiii
Fahmida Suleman
Introduction 3
Marcus Milwright and Evanthia Baboula
Part One Reading Architecture
1 Mshatta’s Façade and the Viewer 25
Alexander Townson
2 Innovative Tomb or Garden Retreat? The Bara Batashewala Mahal in Mughal Delhi 60
Hussein Keshani
3 The Wazir Khan Masjid in Lahore: A Study of the Inscriptions 98
Erica Cruikshank Dodd
4 The Mosques of Firuz Shah 131
Anthony Welch
Part two archaeological research
5 The Challenge of Interpreting Archaeological Remains in the Light of Written Sources: A Discussion Based on the Work of the Canadian Archaeological Mission in Zabid, Yemen 151
Ingrid Hehmeyer
6 The Canadian Archaeological Mission of the Royal Ontario Museum in Yemen 167
Edward Keall
7 Out of Sight, Out of Mind? Preliminary Observations on the Production and Use of Ceramic Drainage Pipes in the Islamic Middle East 196
Marcus Milwright
8 A Group of Fourteenth-Century Ceramics from Deir Mar Musa, Syria 221
Robert Mason
Part three Material and Visual Culture
9 Reaching New Heights: The Giraffe in the Material Culture, Ceremonial, and Diplomacy of Fatimid Egypt 233
Fahmida Suleman
10 Investigations into Later Persian Ceramics at the Royal Ontario Museum (1987-) 255
Lisa Golombek
11 Stone Lions of Isfahan 272
Parviz Tanavoli
12 Princes, Wine, and Animated Nature: Tabriz Painting about 1500 283
Karin Rührdanz
Part four The Production and Reception of Islamic Art in Modern Times
13 Building the Islamic Art Collection at the Royal Ontario Museum: The First Decades 311
Bita Pourvash
14 Henri Matisse’s Portrait of a Standing Riffian: Islam, Byzantium, and “Aristocratic Barbarism” 330
Mark Antliff
15 The Dialogic Exhibition 351
Patricia Bentley and Zulfikar Hirji
16 Process Thinking for Islamic Art and Media Art: Performative Abstraction and Collective Transformation 376
Laura U. Marks
Illustrations 391
Contributors 401
Index 405
Josh Basseches
Acknowledgments ix
Note to the Reader xi
Treasures from the Islamic World at the Royal Ontario Museum xiii
Fahmida Suleman
Introduction 3
Marcus Milwright and Evanthia Baboula
Part One Reading Architecture
1 Mshatta’s Façade and the Viewer 25
Alexander Townson
2 Innovative Tomb or Garden Retreat? The Bara Batashewala Mahal in Mughal Delhi 60
Hussein Keshani
3 The Wazir Khan Masjid in Lahore: A Study of the Inscriptions 98
Erica Cruikshank Dodd
4 The Mosques of Firuz Shah 131
Anthony Welch
Part two archaeological research
5 The Challenge of Interpreting Archaeological Remains in the Light of Written Sources: A Discussion Based on the Work of the Canadian Archaeological Mission in Zabid, Yemen 151
Ingrid Hehmeyer
6 The Canadian Archaeological Mission of the Royal Ontario Museum in Yemen 167
Edward Keall
7 Out of Sight, Out of Mind? Preliminary Observations on the Production and Use of Ceramic Drainage Pipes in the Islamic Middle East 196
Marcus Milwright
8 A Group of Fourteenth-Century Ceramics from Deir Mar Musa, Syria 221
Robert Mason
Part three Material and Visual Culture
9 Reaching New Heights: The Giraffe in the Material Culture, Ceremonial, and Diplomacy of Fatimid Egypt 233
Fahmida Suleman
10 Investigations into Later Persian Ceramics at the Royal Ontario Museum (1987-) 255
Lisa Golombek
11 Stone Lions of Isfahan 272
Parviz Tanavoli
12 Princes, Wine, and Animated Nature: Tabriz Painting about 1500 283
Karin Rührdanz
Part four The Production and Reception of Islamic Art in Modern Times
13 Building the Islamic Art Collection at the Royal Ontario Museum: The First Decades 311
Bita Pourvash
14 Henri Matisse’s Portrait of a Standing Riffian: Islam, Byzantium, and “Aristocratic Barbarism” 330
Mark Antliff
15 The Dialogic Exhibition 351
Patricia Bentley and Zulfikar Hirji
16 Process Thinking for Islamic Art and Media Art: Performative Abstraction and Collective Transformation 376
Laura U. Marks
Illustrations 391
Contributors 401
Index 405
Winner
Best Edited Collection Prize
Universities Art Association of Canada
2023
Best Edited Collection Prize
Universities Art Association of Canada
2023
