From early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, this richly illustrated book is a sweeping tour of the minaret's position as the symbol of Islam.
FORMAT Paperback LANGUAGE English CONDITION Brand NewThis beautifully illustrated history depicts the origin and development of the most visible element of Islamic architecture: the minaret. The argument is iconoclastic - that the minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a universal symbol of the presence of Islam. Originally published in 1989, this new edition has been thoroughly revised, expanded and generously illustrated in colour, substantially broadening both the chronological and geographical scope. Coverage spans from early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, in a sweeping tour of the minaret's position as the symbol of Islam.
Edinburgh Studies in Islamic ArtSERIES EDITOR: ROBERT HILLENBRANDADVISORY EDITORS: BERNARD O' KANE AND JONATHAN M. BLOOMThis series offers readers easy access to the most up-to-date research across the whole range of Islamic art, representing various parts of the Islamic world, media and approaches. Books in the series are academic monographs of intellectual distinction that mark a significant advance in the field.'His survey of the surviving towers and his formulation of the problems they raise will surely remain standard for many years to come.' Journal of the American Oriental Society'The style is remarkably clear and at points exhilarating.'British Journal of Middle Eastern StudiesA lavishly illustrated history of the origin and development of the minaretThis beautifully illustrated history depicts the origin and development of the most visible element of Islamic architecture: the minaret. The argument is iconoclastic - that the minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a universal symbol of the presence of Islam. Originally published in 1989, this new edition has been thoroughly revised, expanded and generously illustrated in colour, substantially broadening both the chronological and geographical scope. Coverage spans from early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, in a sweeping tour of the minaret's position as the symbol of Islam.Jonathan M. Bloom is Norma Jean Calderwood Professor of Islamic and Asian Art at Boston College and Hamad Bin Khalifa Endowed Chair in Islamic Art at Viriginia Commonwealth University. He is the author of numerous books including Arts of the City Victorious: Islamic Art and Architecture in Fatimid North Africa and Egypt (2008) and (with Sheila S. Blair) the three-volume Grove Encyclopedia of Islamic Art and Architecture (2009).Published in association with al-Sabah Collection, Dar al-Athar al-Islamiyyah, KuwaitCover image: iStockphoto.Cover design: Cathy Sprent[EUP logo]
Edinburgh Studies in Islamic ArtSERIES EDITOR: ROBERT HILLENBRANDADVISORY EDITORS: BERNARD O' KANE AND JONATHAN M. BLOOMThis series offers readers easy access to the most up-to-date research across the whole range of Islamic art, representing various parts of the Islamic world, media and approaches. Books in the series are academic monographs of intellectual distinction that mark a significant advance in the field.'His survey of the surviving towers and his formulation of the problems they raise will surely remain standard for many years to come.'Journal of the American Oriental Society'The style is remarkably clear and at points exhilarating.'British Journal of Middle Eastern StudiesA lavishly illustrated history of the origin and development of the minaretThis beautifully illustrated history depicts the origin and development of the most visible element of Islamic architecture: the minaret. The argument is iconoclastic - that the minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a universal symbol of the presence of Islam.Originally published in 1989, this new edition has been thoroughly revised, expanded and generously illustrated in colour, substantially broadening both the chronological and geographical scope. Coverage spans from early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, in a sweeping tour of the minaret's position as the symbol of Islam.Jonathan M. Bloom is Norma Jean Calderwood Professor of Islamic and Asian Art at Boston College and Hamad Bin Khalifa Endowed Chair in Islamic Art at Viriginia Commonwealth University. He is the author of numerous books including Arts of the City Victorious: Islamic Art and Architecture in Fatimid North Africa and Egypt (2008) and (with Sheila S. Blair) the three-volume Grove Encyclopedia of Islamic Art and Architecture (2009).Published in association with al-Sabah Collection, Dar al-Athar al-Islamiyyah, KuwaitCover image: iStockphoto.Cover design: Cathy Sprent[EUP logo]
Jonathan M. Bloom is the author, co-author, editor, or co-editor of fifteen books and hundreds of articles on all aspects of Islamic art and architecture, including the art of the Fatimid dynasty, and the history of paper. He and his wife and colleague Sheila Blair edited the prize-winning 3-volume Grove Encyclopedia of Islamic Art and Architecture (2009) and organize the Hamad bin Khalifa Biennial Symposia on Islamic Art and Culture.
List of Figures; Series Editor's Foreword; Preface; Map; INTRODUCTION; PART I: CHAPTER 1 The History of Scholarship and the Nature of the Problem, CHAPTER 2 The Adhan, the Mi'dhana and the Sawma'a, CHAPTER 3 Man'rs and Man'ras, CHAPTER 4 The Mosque Tower, CHAPTER 5 Why Were Towers Added to Mosques?; PART II: CHAPTER 6 The Minaret in the Maghrib in the Ninth Century, CHAPTER 7 The Triumph of the Cordoban Minaret in the Maghrib, CHAPTER 8 The Minaret in Egypt through the Ayyubid Period, CHAPTER 9 The Minaret in the Eastern Islamic Lands before the Seljuqs, CHAPTER 10 The Seljuq Minaret; PART III: CHAPTER 11 The Minaret after the Mongol Conquest, CHAPTER 12 The Minaret Beyond the Persianate World, CHAPTER 13 The Minaret in the Modern World; Bibliography; Illustration Acknowledgments; Index
'Superb...From the aesthetic charm of the minaret, to its sociopolitical implications, this book is a must-read for those seeking to understand the powerful impact that bricks and mortar can have on society.' -- Lisa Kaaki, Arab News
A lavishly illustrated history of this iconic element of Islamic architecture
'Superb...From the aesthetic charm of the minaret, to its sociopolitical implications, this book is a must-read for those seeking to understand the powerful impact that bricks and mortar can have on society.' -- Lisa Kaaki, Arab News
A lavishly illustrated history of this iconic element of Islamic architecture
A lavishly illustrated history of this iconic element of Islamic architecture Tracing its origins and development, Bloom reveals that the Minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a visible symbol of Islam. Drawing on buildings, archaeological reports, medieval histories, geographies and early Arabic poetry, Bloom reinterprets the origin, development and meanings of the minaret. From early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, this richly illustrated book is a sweeping tour of the minaret's position as the symbol of Islam. Key features Richly illustrated with colour photographs as well as black and white photographs and line drawings Brings the discussion up to the present day: how are modern architects using the tower form? Includes a new section on the engineering of minarets for scholars with a specialist interest in architecture Easy to read: uses simplified transcriptions of Arabic terms and names Praise from the BRISMES Book Prize 'An antidote to so much of what passes for scholarship in art history today. The author trades in facts; not fancy. He scrutinises the material culture and pores over the historical texts, alive to what the former can be said to say and what the latter do in fact say, as well as what they do not; his arguments follow.'
Richly illustrated with colour photographs as well as black and white photographs and line drawings Brings the discussion up to the present day: how are modern architects using the tower form? Includes a new section on the engineering of minarets for scholars with a specialist interest in architecture Easy to read: uses simplified transcriptions of Arabic terms and names
A lavishly illustrated history of the origin and development of the minaret It argues that the minaret - long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer - was actually invented some two centuries later to be a universal symbol of the presence of Islam
Islamic Art; Islamic Architecture; Architecture of Religious Buildings
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