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Tawfik Younis
Islam
Liana levi. 1997. In-4. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 143 pages augmentées de nombreuses photos en couleurs dans le texte.. . . . Classification Dewey : 297-Islam et religions dérivées
Reference : RO80226879
ISBN : 2867461723
Classification Dewey : 297-Islam et religions dérivées
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5 book(s) with the same title
Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma
Auld, Sylvia: Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma. London: Altajir World of Islam Trust, 2004. 350pp with 210 monochrome illustrations. Cloth. 26.8x20.7cms. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better.
The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmudâs double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman âWhite Sheepâ dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called âazzimina, but to prove that they could do better. Text in English
After Alexander: Central Asia Before Islam
Hermann, Georgina and Joe Cribb ed: After Alexander: Central Asia Before Islam. Oxford: 2006. 500pp with 7 colour plates and monochrome illustrations throughout. Cloth. 23.5x15.5cms. Drawing on new research in Uzbekistan and Turkmenistan, this study examines the history and archaeology of Central Asia. Discusses the impact of this period, the time of change and conflict between settled people and new arrivals, city-dwellers and nomads from the conquests of Alexander the Great to the arrival of Islam.
Drawing on new research in Uzbekistan and Turkmenistan, this study examines the history and archaeology of Central Asia. Discusses the impact of this period, the time of change and conflict between settled people and new arrivals, city-dwellers and nomads from the conquests of Alexander the Great to the arrival of Islam. Text in English
Pierres et stucs ÃpigraphiÃs. MusÃe du Louvre, dÃpartement des Arts de l'Islam
Bittar, ThÃrÚse: Pierres et stucs ÃpigraphiÃs. MusÃe du Louvre, dÃpartement des Arts de l'Islam. Paris: 2003. 272pp with 8 colour plates and 123 monochrome illustrations. Paperback. 27x21cms. Catalogue of the Arabic inscriptions on stone and in stucco, from across the Islamic world, in the collection of the Louvre. Explores the formal evolution of inscriptions through the centuries, and reveals a wealth of historical, religious and architectural information. Text in French.
Catalogue of the Arabic inscriptions on stone and in stucco, from across the Islamic world, in the collection of the Louvre. Explores the formal evolution of inscriptions through the centuries, and reveals a wealth of historical, religious and architectural information. Text in French
Lo que Europa debe al Islam de España
Vernet, Juan: Lo que Europa debe al Islam de España. Barcelona: El Acantilado, 1999. 560 pages. Paperback. 21x13.5cms. Text in Spanish.
Text in Spanish
The Hidden Origins of Islam: New Research into Its Early History
Prometheus Books 2009 405 pages 15 8x23 4x3cm. 2009. Relié. 405 pages. Cet ouvrage collectif dirigé par Karl-Heinz Ohlig et Gerd-R. Puin propose une réévaluation critique des origines de l'islam en interprétant des contextes historiques traditionnels et en relisant des passages du Coran. Les contributeurs présentent une image surprenante et non conventionnelle des fondements de l'histoire religieuse islamique basée sur l'analyse de sources contemporaines aux événements décrits
Bon état accroc en haut du dos intérieur propre bonne tenue
