Here are 141 designs and motifs in authentic full color from classic 19th-century work by noted French historian — a visual vocabulary of Islamic decorative art.

45 mønstre som kan anvendes ved design af tekstiler, tapeter, gulvbelægning etc.

Sixteen elaborate geometric designs incorporate a wide range of abstract Islamic motifs: pentagons, squares, octagons, stars, rosettes, and more. Striking results when colored and placed near a source of bright light.

Islamic architecture has enriched design with a wide variety of structural shapes, including among others, unique arches, a wide variety of vaults and domes which allow for new forms to be developed. The influence that these structural forms have in non-Islamic countries was one of the themes of the 3rd International Conference on Islamic Heritage Architecture and Art, at which the included papers were presented. There is much to learn from past experiences to arrive at solutions which are environmentally sound and sustainable in the long term. As conventional energy resources become scarce, the Islamic design heritage can offer invaluable lessons on how to deal in an efficient manner with cases of hard and extreme environments. Traditional architecture and urban environments in most Islamic countries are now being eroded by overemphasis on a global type of architecture and city planning. As a consequence, many regions are losing their identity. It will become increasingly important for new developments to take light of what the classical Islamic urban designs and architectures have to offer modern society. An equally important aspect covered is the analysis of the materials employed and the types of structural elements, particularly those unique to Islamic architecture. Preserving this heritage requires the development of appropriate conservation techniques in response to the different materials used and the ways structural forms work, including under extreme conditions, such as earthquakes. These papers deal with the design of many types of buildings in Islamic countries, including not only the better known public buildings like mosques, mausolea, citadels and forts, but also houses and gardens, engineering works such as bridges and dams, irrigation systems and many others which have also had a profound impact on society.

From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world. Venice and the Islamic World, 828–1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.

Edward C. Moore (1827–1891) was the creative leader who brought Tiffany & Co. to unparalleled originality and success during the late nineteenth century. A silversmith, designer, and prodigious collector, Moore sought out exceptional objects from around the world, which he then used as inspiration for Tiffany’s innovative silver designs. This informative, richly illustrated volume, the first study of Moore’s life, collection, and influence, presents more than 170 examples from his vast collection, ranging from Greek and Roman glass to Spanish vases, Islamic metalwork, and Japanese textiles. These are juxtaposed with sixty magnificent silver objects created by the designers and artisans at Tiffany who were inspired by Moore’s acquisitions. Included among them are the world-famous Bryant Vase drawing upon Greek examples, a love cup featuring ornate “Saracenic” decoration, and a chocolate pot incorporating novel techniques influenced by Japanese ceramics and lacquerware. The illuminating texts have been enriched by groundbreaking research into contemporary sources such as newspapers and periodicals, the Tiffany & Co. Archives, and a newly identified technical manual and supervisor’s diaries, all of which provide an intimate look at the firm’s design processes and Moore’s role in shaping them. A valuable contribution to the history of American decorative arts, Collecting Inspiration illuminates both the legendary Tiffany aesthetic and the legacy of a significant collector, designer, and entrepreneur of the Gilded Age.

Lavishly illustrated with over 300 pictures, including more than 200 in full color, The Oxford History of Islam offers the most wide-ranging and authoritative account available of the second largest--and fastest growing--religion in the world. John L. Esposito, Editor-in-Chief of the four-volume Oxford Encyclopedia of the Modern Islamic World, has gathered together sixteen leading scholars, both Muslim and non-Muslim, to examine the origins and historical development of Islam--its faith, community, institutions, sciences, and arts. Beginning in the pre-Islamic Arab world, the chapters range from the story of Muhammad and his Companions, to the development of Islamic religion and culture and the empires that grew from it, to the influence that Islam has on today's world. The book covers a wide array of subjects, casting light on topics such as the historical encounter of Islam and Christianity, the role of Islam in the Mughal and Ottoman empires, the growth of Islam in Southeast Asia, China, and Africa, the political, economic, and religious challenges of European imperialism in the nineteenth and twentieth centuries, and Islamic communities in the modern Western world. In addition, the book offers excellent articles on Islamic religion, art and architecture, and sciences as well as bibliographies. Events in the contemporary world have led to an explosion of interest and scholarly work on Islam. Written for the general reader but also appealing to specialists, The Oxford History of Islam offers the best of that recent scholarship, presented in a readable style and complemented by a rich variety of illustrations.

The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour’s iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today’s world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.

Through its material remains, Perspectives on Early Islamic Art in Jerusalem analyzes several overlooked aspects of the earliest decades of Islamic presence in Jerusalem, during the seventh century CE. Focusing on the Haram al-Sharif, also known as the Temple Mount, Lawrence Nees provides the first sustained study of the Dome of the Chain, a remarkable eleven-sided building standing beside the slightly later Dome of the Rock, and the first study of the meaning of the columns and column capitals with figures of eagles in the Dome of the Rock. He also provides a new interpretation of the earliest mosque in Jerusalem, the Haram as a whole, with the sacred Rock at its center.

This is an open access book. The existence of digital virtuality in the midst of an information society has become an integral component of the human existential condition. New spaces for exploring the engagement of design and its impact on humans in digital virtuality continue to grow exponentially. Innovation in Media and Visual Design (IMDES 2023) welcomes thoughts and works of academics, researchers and practitioners related to virtuality, design, technology, mass media and people from various perspectives, disciplines and fields of knowledge.