The Islamic garden is regarded as one of the highest forms of visual art in the civilization of Islam. The principal elements are water and shade; they are also characterized by the chahar-bagh: a four-fold pattern, constructed around a central pool or fountain, with four streams flowing toward the four corners of the earth. Aesthetically, this design provides a striking feature in itself; however, a true appreciation of an Islamic garden is only ever complete with an understanding of the spiritual symbolism manifested in its design and planting. This lavish book provides both an intellectual guide to the symbolism of the Islamic garden and a practical guide to its component parts, with recommendations for suitable trees, shrubs, and flowers and advice on creating an Islamic garden in cooler climates. Garden designer Emma Clark teaches Visual Islamic and Traditional Arts at The Prince’s Foundation, London.

This beautifully illustrated book presents a history of our relationship with nature, beginning with the civilisations of ancient Egypt and Mesopotamia, when gardens served as ‘the dwelling place of the gods’. Tracing this history through subsequent epochs, the author shows how human awareness of the divine presence in nature was gradually eclipsed. As nature came to be viewed primarily as a physical resource to be controlled and exploited by us, this was reflected in the ordered, rational designs imposed on such gardens as Versailles. More recently, gardening has come to be seen less as an instrument of control than as an art in its own right, enhancing nature’s inherent beauty. Jeremy Naydler suggests that the future of gardening lies not simply in its being regarded as an art but as a sacred art, which once again honours and works with the spiritual dimension intrinsic to nature. ‘This thoughtful book challenges the gardener in us to work as an artist and experience the sacred presence around us by becoming creatively engaged with the hidden formative forces of Nature.’ – Network Review ‘The main thrust of this profound and inspiring volume is to remind us that gardens are essentially sacred spaces in which we may work together with Nature in order that we may help her – and ourselves in the process – express more fully the divine presence hidden within the heart of her outward beauty.’ – Resurgence ‘An exceptionally well-referenced, delightfully illustrated and informative work.’ – New View ‘In his beautifully illustrated book, [Naydler] re-sounds the call of the garden as a “necessary counterbalance and corrective”. It’s a welcome message towards re-sanctifying our world.’ – Nexus Magazine ‘Gardeners will love this book. Occasionally you look down the garden you have worked all day … and you have that peace, that sense of the numinous that cannot be understood except by somehow knowing that it is vital. Our author has been so kind as to declare it for us: gardening is a sacred art.’ – Derek Cunningham, Self and Society

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

Western admirers have long seen the Islamic garden as an earthly reflection of the paradise said to await the faithful. However, such simplification, Ruggles contends, denies the sophistication and diversity of the art form. Islamic Gardens and Landscapes immerses the reader in the world of the architects of the great gardens of the Islamic world, from medieval Morocco to contemporary India. Just as Islamic culture is historically dense, sophisticated, and complex, so too is the history of its built landscapes. Islamic gardens began from the practical need to organize the surrounding space of human civilization, tame nature, enhance the earth's yield, and create a legible map on which to distribute natural resources. Ruggles follows the evolution of these early farming efforts to their aristocratic apex in famous formal gardens of the Alhambra in Spain and the Taj Mahal in Agra. Whether in a humble city home or a royal courtyard, the garden has several defining characteristics, which Ruggles discusses. Most notable is an enclosed space divided into four equal parts surrounding a central design element. The traditional Islamic garden is inwardly focused, usually surrounded by buildings or in the form of a courtyard. Water provides a counterpoint to the portioned green sections. Ranging across poetry, court documents, agronomy manuals, and early garden representations, and richly illustrated with pictures and site plans, Islamic Gardens and Landscapes is a book of impressive scope sure to interest scholars and enthusiasts alike.

The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art.

"Muqarnas" is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In "Muqarnas" articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

In TThe Art and Philosophy of the Garden, philosopher David Fenner and botanist Ethan Fenner examine the philosophical ideas lying behind one of the most universal human activities. They strip away our assumptions and take a close look at gardens -- starting with a definition of what a garden is -- and argue for a particularly way of understanding their aesthetic properties. Fenner and Fenner make the case that many gardens have a claim to being legitimate works of art. Their comprehensive and accessible discussion contributes to the resurgence of the theory of gardens and gardening, and will also interest any thoughtful person who cares about gardens.

This book is intended as both an introduction to the discipline for students of landscape architecture, architecture, and planning, and a source of continuing interest for more experienced environmental designers. The book offers various materials for landscape architects and other planning professionals. The book is divided into 4 parts and 17 chapters. Part I "Introduction to the Landscape Architecture Theme" is general reading on landscape architecture. Part II "Art's Replica and Landscape Architecture Model" includes three chapters. This part represents a theoretical and sensitive visual interpretation of landscape architecture. Part III "Sustainable Prototypes of a Contemporary Landscape Architecture" includes four chapters, with sustainability as a concept and guiding thought. Part IV "Landscape Architecture Around the World (Study Cases)" includes 9 chapters with many examples from different geographical practical cases.

Marie-Luise Gothein's History of garden art was first published in German 1913. It was re-published in English in 1928, with two extra chapter. This edition (first published as a CD in 2002) has been edited and revised by Tom Turner. It is now supplied as a pdf.