A Companion to Islamic art and Architecture 2

A Companion to Islamic Art and Architecture WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Wiley Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Dada and Surrealism edited by David Hopkins 11 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie 12 A Companion to Islamic Art and Architecture, Volumes I and II edited by Finbarr Barry Flood and Gülru Necipoğlu A Companion to Islamic Art and Architecture Volume II From the Mongols to Modernism Edited by Finbarr Barry Flood and Gülru Necipoğlu This edition first published 2017 © 2017 John Wiley & Sons, Inc All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions. The right of Finbarr Barry Flood and Gülru Necipoğlu to be identified as the authors of the editorial material in this work has been asserted in accordance with law. Registered Office John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA Editorial Office 9600 Garsington Road, Oxford, OX4 2DQ, UK For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.wiley.com. Wiley also publishes its books in a variety of electronic formats and by print‐on‐demand. Some content that appears in standard print versions of this book may not be available in other formats. 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The advice and strategies contained herein may not be suitable for your situation. You should consult with a specialist where appropriate. Further, readers should be aware that websites listed in this work may have changed or disappeared between when this work was written and when it is read. Neither the publisher nor authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. Library of Congress Cataloging‐in‐Publication Data Flood, Finbarr Barry, editor. | Necipoğlu, Gülru, editor. A companion to Islamic art and architecture/edited by Finbarr Barry Flood and Gülru Necipoğlu. Hoboken : John Wiley & Sons Inc., 2017. | Series: Wiley Blackwell companions to art history | Includes bibliographical references and index. LCCN 2016051999 (print) | LCCN 2016053442 (ebook) | ISBN 9781119068662 (hardback) | ISBN 9781119068570 (Adobe PDF) | ISBN 9781119068556 (ePub) LCSH: Islamic art. | Islamic architecture. | BISAC: ART/History/General. LCC N6260 .C66 2017 (print) | LCC N6260 (ebook) | DDC 709.17/67–dc23 LC record available at https://lccn.loc.gov/2016051999 Cover image: Courtesy of Nandini Bagchee. Cover design by Wiley Set in 10/12pt Galliard by SPi Global, Pondicherry, India 1 2017 Contents II List of Illustrations ix List of Maps xix Notes on Contributors xx Map of commonly cited cities xxvi Part V 579 “Global” Empires and the World-System (1250–1450) Part Introduction 579 23 Architecture and Court Cultures of the Fourteenth Century Bernard O’Kane 585 24 Islamic Architecture and Ornament in China Nancy S. Steinhardt 616 25 Chinese and Turko‐Mongol Elements in Ilkhanid and Timurid Arts Part 1: Yuka Kadoi; Part 2: Tomoko Masuya 636 26 Persianate Arts of the Book in Iran and Central Asia David J. Roxburgh 668 27 Later Qurʾan Manuscripts Priscilla P. Soucek 691 vi ◼◼◼ Contents 28 Locating the Alhambra: A Fourteenth‐Century “Islamic” Palace and its “Western” Contexts Cynthia Robinson 29 Architectural Patronage and the Rise of the Ottomans Zeynep Yürekli 30 Islam beyond Empires: Mosques and Islamic Landscapes in India and the Indian Ocean Elizabeth A. Lambourn 31 The Deccani Sultanates and their Interregional Connections Phillip B. Wagoner and Laura Weinstein 712 733 755 777 Part VI Early Modern Empires and their Neighbors (1450–1700) 805 Part Introduction 805 32 The Mughals, Uzbeks, and the Timurid Legacy Lisa Golombek and Ebba Koch 811 33 Istanbul, Isfahan, and Delhi: Imperial Designs and Urban Experiences in the Early Modern Era Sussan Babaie and Çiğdem Kafescioğlu 34 Painting, from Royal to Urban Patronage Emine Fetvacı and Christiane Gruber 846 874 35 Objects of Consumption: Mediterranean Interconnections of the Ottomans and Mamluks Tülay Artan 903 36 Safavid Arts and Diplomacy in the Age of the Renaissance and Reformation Part 1: Massumeh Farhad; Part 2: Marianna Shreve Simpson 931 37 Carpets, Textiles, and Trade in the Early Modern Islamic World Walter B. Denny 38 Trade, Politics, and Sufi Synthesis in the Formation of Southeast Asian Islamic Architecture Imran bin Tajudeen 972 996 Contents ◼◼◼ vii 39 Mudejar Americano: Iberian Aesthetic Transmission in the New World Thomas B.F. Cummins and María Judith Feliciano 1023 Part VII 1051 Modernity, Empire, Colony, and Nation (1700–1950) Part Introduction 1051 40 Beyond the Taj Mahal: Late Mughal Visual Culture Chanchal Dadlani and Yuthika Sharma 1055 41 Kings and Traditions in Différance: Antiquity Revisited in Post‐Safavid Iran Talinn Grigor 42 Public Sphere in the Eastern Mediterranean Shirine Hamadeh 43 “Jeux de miroir”: Architecture of Istanbul and Cairo from Empire to Modernism Nebahat Avcıoğlu and Mercedes Volait 1082 1102 1122 44 Islamic Art in Islamic Lands: Museums and Architectural Revivalism Wendy M.K. Shaw 1150 45 Islamic Art in the West: Categories of Collecting Stephen Vernoit 1172 46 Islamic Arts and the Crisis of Representation in Modern Europe Rémi Labrusse 1196 Part VIII 1219 Islam, Art, and the Contemporary (1950–Present) Part Introduction 1219 47 Resonance and Circulation: The Category “Islamic Art and Architecture” Heghnar Z. Watenpaugh 1223 48 Dubai, Anyplace: Histories of Architecture in the Contemporary Middle East Kishwar Rizvi 1245 viii ◼◼◼ Contents 49 Translations of Architecture in West Asia during the Twentieth Century Esra Akcan 1267 50 Calligraphic Abstraction Iftikhar Dadi 1292 51 Articulating the Contemporary Anneka Lenssen and Sarah A. Rogers 1314 Index 1339 List of Illustrations 23.1 Courtyard, Sahrij madrasa, Fez 594 23.2 Interior of mausoleum, complex of Qalawun, Cairo 598 23.3 Exterior, complex of Sultan Hasan, Cairo 599 23.4 Exterior of the Mosque of Bibi Khanum, Samarqand 603 23.5 Exterior of mausoleum of Uljaytu, Sultaniyya, Iran 606 23.6 Interior of lecture hall, madrasa, Khargird 608 23.7 Exterior of mausoleum of Rukn‐i ʿAlam, Multan 611 24.1 Entry and wall of Shengyousi, Quanzhou, 1009–1010; repaired 1310–1311 621 24.2 Pieces of cenotaphs with lotus petals, standard imagery in Buddhist pagodas and altar bases, along base level, Quanzhou Maritme Museum 623 24.3 Guangta (minaret), Huaisheng Mosque, Guangzhou, c. 1350 with repairs as late as the twentieth century 624 24.4 Tomb of Tughluq Timür, Huocheng, Xinjiang Uygur Autonomous Region, c. 1363 628 24.5 Huajuexiang Mosque, Xi’an, Ming period and later 630 25.1 Hanging with roosters and dragons. Lampas weave. Mongol Eurasia, c. 1300 639 25.2 Mausoleum of Rukn al‐Din (also known as the “Rukniyya”): interior painted decoration 640 x ◼◼◼ List of Illustrations 25.3 Frieze tile with a phoenix, clouds, and lotuses. Fritware, overglaze luster painting. Iran (probably Takht‐i Sulayman), c. 1270s 642 25.4 Isfandiyar approaching Gushtasp, page from the Great Mongol Shahnama 644 25.5 Rock‐carved dragon. From a former Buddhist site near Viar, Iran, late thirteenth century 647 25.6 “Two dancing dervishes” and “Two seated demons,” attributed to Muhammad Siyah Qalam, Album paintings, Topkapı Palace Museum Library 656 25.7 “Five horses,” Chinese painting on silk, Topkapı Palace Museum Library 657 25.8 Pages from Haydar’s Chaghatai poem Makhzan al‐asrar, Tabriz, 1478 661 25.9 Plate, underglaze‐painted, Mashhad, 1473 663 25.10 Cup inscribed with the name of Ulugh Beg Küregen, nephrite, c. 1420–1449 664 26.1 Two elephants, from the Manafiʿ‐i hayavan (The Benefits of Animals) by Abu Saʿid ʿUbayd Allah bin Ibrahim, known as Ibn Bakhtishuʿ, Iran, Maragha, dated 1297–1298 or 1299–1300 672 26.2 “Bahram Gur fights the Karg,” illustrated folio from the Great Mongol Shahnama (Book of Kings) by Firdawsi, Iran, Tabriz (?), 1330s 677 26.3 “Humay recognizes Humayun,” illustrated folio from the “Three Masnavis” by Khvaju Kirmani, Iraq, Baghdad, 1396. Copied by Mir ʿAli bin Ilyas al‐Tabrizi al‐Bavarchi for Sultan Ahmad 681 26.4 Gemini, marginal drawings of Khusraw Parviz watching Shirin bathing, and rams fighting, from a treatise on astrology in the “Anthology” made for Iskandar Sultan, Iran, Shiraz, 1410–1411 684 26.5 “Isfandiyar slays Arjasp in the Brazen Hold,” illustrated folio from the Shahnama (Book of Kings) by Firdawsi made for Muhammad Juki 687 27.1 Right half of the frontispiece to Juz 4 (Q.39: 92) with interlinear glosses in Persian and Turkish, 27 × 29 cm, paper, gold, pigments, Turkey or Central Asia, mid‐fourteenth century 692 27.2 Double‐page frontispiece from a Qurʾan, Egypt (Q.9: 128–129), c. 1370 693 27.3 Spain, thirteenth century 695 List of Illustrations ◼◼◼ xi 27.4 Left half of a colophon signed by Ahmad ibn al‐Suhrawardi al‐Bakri, Baghdad, 1308 700 27.5 Folio from a Qurʾan manuscript, India, early fifteenth century 707 28.1 Plan of the Alhambra. After Contreras 715 28.2 Alhambra, Hall of Comares, interior 715 28.3 Alhambra, Palace of the Lions, courtyard 722 28.4 Alhambra, Palace of the Lions, Hall of Justice, Ornament 723 28.5 Alhambra, Palace of the Lions, Hall of Justice, painted ceiling with courtly images 727 29.1 Behramkale (Assos), mosque of Murad I, c. 1380. Gate with reused Byzantine lintel from a church of St. Cornelius 737 29.2 Iznik, Green Mosque, 1378–1392 743 29.3 Bursa, Green Mosque, 1419–1424 745 29.4 Bursa, Green Mosque, 1419–1424 747 29.5 Edirne, Triple‐Galleried (Üç Serefeli) Mosque, 1437–1447 749 30.1 Inked rubbing of the Arabic endowment text to the mosque of Firuz al‐ʿIraqi built outside Somnath Patan in western India in 662 (1264) 757 30.2 Longitudinal section of the mosque of al‐Idhaji at Junagadh in western India, dated by foundation inscription to 685 (1286–1287) 760 30.3 Ground plan of the Friday mosque at Calicut, Kerala, showing the expansion of the mosque around the original fourteenth‐ or early fifteenth‐century prayer hall and “antechamber” 764 30.4 View of the porch or dihliz with seating platforms built on to the “antechamber” of the Friday mosque at Calicut, dated by foundation inscription to 1090 (1679–1680) 765 30.5 Site plan of the mosque of al‐Idhaji at Junagadh, 685 (1286–1287) 767 31.1 Daulatabad, Jamiʿ Masjid, c. 1313–1318 781 31.2 Aurangabad, Bibi ka Maqbara, 1660–1661 784 31.3 Jahangir receives Prince Khurram on his return from the Deccan in 1617, painted by Murar 788 xii ◼◼◼ List of Illustrations 31.4 Ibrahim ʿAdil Shah II as a musician, painted by Farrukh Beg in Bijapur, c. 1605–1609 789 31.5 Ewer in the shape of a goose (hamsa), Deccan, fifteenth or sixteenth century 793 31.6 Golconda, mosque attached to the tomb of Hayat Bakhsh Begum, carved stone inscription with text from the Qurʾan (sura 2, verses 142 and 143) framing the mihrab 794 31.7 Madrasa established by Mahmud Gawan at Bidar, 1472 797 31.8 Portraits of the patrons Viranna and Virupana, ceiling painting from the temple of Virabhadra at Lepakshi, mid‐sixteenth century 799 32.1 Registan Square in Samarqand 815 32.2 Model of the Friday mosque of Samarqand 816 32.3 Plan of the shrine of Ahmad Yasavi, Turkestan 818 32.4 Section of the dome of the Gur‐i Amir in Samarqand, showing the internal structure and geometric analysis of the proportions of the building. 819 32.5 Interior of the dome chamber left of the entrance in the madrasa at Khargird 823 32.6 Tomb of Humayun at Delhi, built between 1562 and 1571, plan of the garden showing in the center the platform of the tomb with surrounding rooms and burial chambers 830 32.7 Tomb of Humayun, ground plan of the tomb structure on the platform 831 32.8 Tomb of Humayun after its restoration by the Aga Khan Trust for Culture 833 32.9 Reconstruction of the entire Taj Mahal complex with its now lost bazaar and caravanserai complex 836 32.10 Jamiʿ Masjid, Khiva, Uzbekistan, reconstructed in the eighteenth century with wooden columns dating from different periods reaching back to the ninth century and earlier 838 33.1 Istanbul, view towards the peninsula from the north, the Süleymaniye complex (1550–1557), the mosque of Rüstem Pasha (c. 1560), and the Tahtakale public bath (c. 1460) 856 List of Illustrations ◼◼◼ xiii 33.2 Isfahan, Maydan‐i Naqsh‐i Jahan, view from the roof of the Qaysariyya: Shaykh Lutfallah mosque on the east, the Ali Qapu Palace on the west, and Masjid‐i Jadid‐i ʿAbbasi on the south 859 33.3 Ali Mazhar Khan, Jamaʿ Masjid in Delhi and the Khass bazaar leading to it; c. 1840 864 33.4 Procession of the Bedestan merchants and their apprentices in the Atmeydanı during the circumcision festival of 1582, with the Ibrahim Pasha palace and its royal loggia in the upper register, Intizami, Surname‐i Humayun, c. 1587 868 33.5 Isfahan, Meydan‐i Naqsh‐i Jahan. Washed pen drawing by G. Hofsted van Essen (1703) 869 34.1 Isfandiyar slays a dragon, from a Shahnama of Firdawsi, produced for Shah Tahmasp, Tabriz, Iran c. 1530 878 34.2 Humayun with Shah Tahmasp, by Sanwlah, from the Akbarnama of Abuʾl‐Fazl, Mughal, 1603–1604 881 34.3 Sultan Murad III giving audience to Ibrahim Pasha who is about to leave Istanbul for his post as governor of Egypt in Cairo, from the Shahanshahnama of Seyyid Lokman, Ottoman, 1592–1598 883 34.4 Abu Jahl (smeared) attempting to hurl a stone onto the Prophet Muhammad at the Kaʿba, from the Siyer‐i Nebi of Darir, Istanbul, 1594–1595 886 34.5 Shaykh Safi al‐Din’s dream of the political downfall of the Chupanids, Safwat al‐Safa of Ibn Bazzaz, Shiraz, Iran, 1582 888 34.6 Lady with a Fan, Riza‐yi ʿAbbasi, Isfahan, Iran, c. 1590–1592 891 34.7 Album page including the portrait of Sultan Mehmed II. Portrait attributed to Sinan Beg, Ottoman, c. 1480 892 34.8 Portrait of Shah Jahan standing on the globe, by Hashim, Mughal India, c. 1618–1629 895 35.1 Tapestry (Burgundian?), fifteenth century, skirted with fifteenth‐century Italian (probably Venetian) silk velvet with silver‐gilt‐wrapped brocaded wefts. 909 35.2 Silk velvet ceremonial robe (kaftan), fifteenth century, Italian (probably Venetian), lined in Istanbul with Ottoman satin 910 xiv ◼◼◼ List of Illustrations 35.3 Rock crystal pitcher, fifteenth century, Burgundy; with an encrusted golden lid added, sixteenth century, Ottoman 911 35.4 Pietra dura panel decorating the fountain in the bedchamber of Murad III (1578–1579) 913 35.5 Museum of Islamic Art at the Pergamon Museum, Berlin. Inv. Nr. : I. 2862. Aleppo Room, wood, multilayered painting using a variety of pigments and metal coatings 916 36.1 Belt, Iran, Safavid period, dated 1507–1508, iron, gold, rubies, turquoise, velvet 934 36.2 Textile fragment, Iran, Safavid period, c. 1540, silk; cut and voided velvet with continuous floats of flat metal thread 939 36.3 Polonaise carpet, Iran, Safavid period, seventeenth century, cotton (warp and weft), silk (weft and pile), metal wrapped thread 945 36.4 Plate, Iran, Isfahan, early seventeenth century, stone‐paste painted underglaze 947 36.5 Sash, Iran (possibly Kashan), seventeenth century; compound plain weave, brocaded, silk and metal‐wrapped thread 954 36.6 Aegidius Sadeler II, “Portrait of Anthony Sherley,” Prague, 1601 957 36.7 Aegidius Sadeler II, “Portrait of Husayn ‘Ali Beg,” Prague, 1601 958 36.8 Casket, Italy (Venice), end of sixteenth century; rock crystal, lacquered wood, gilt silver and bronze 959 36.9 Panel with birds and flowering vines, Iran, first half of seventeenth century; compound plain weave, silk and metal‐wrapped thread 968 37.1 Silk panel from a chasuble, Nasrid, Spain, Granada, probably fourteenth century 975 37.2 Silk serenk panel from a garment, Ottoman, Istanbul, late sixteenth century 985 37.3 Silk mantle for a statuette of the Virgin Mary, Mamluk, fourteenth century 987 37.4 Cut and voided silk velvet interior tent ornament, Safavid, Iran, mid‐sixteenth century 989 37.5 Wool knotted‐pile carpet with pictorial design, Mughal, north India, c. 1590–1600 992 38.1 Structural distinction between the tajug hall (mosque), wantilan (cockfighting pavilion), and meru (deity tower). 1002 38.2 Roof ornaments and symbolism 1003 List of Illustrations ◼◼◼ xv 38.3 Roof form 1004 38.4 Kraton Kasepuhan (palace complex) in Cirebon, West Java 1006 38.5 Royal funerary stone monuments from Makassar, South Sulawesi 1009 38.6 Ornamental brick patterns and ceramic plate inserts, terracotta medallions, stone medallions, blue-and-white custom-made Vietnamese wall tiles, and ceramic plates in plasterwork decorative schema 1010 38.7 Kudus minaret and several old brick gateways to the complex, Central Java 1015 39.1 Artesonado at the Church of San Francisco in Tlaxcala, Mexico 1028 39.2 Artesonado at the Church of San Francisco in Quito, Ecuador 1030 39.3 Artesonado at the Church of San Pedro Apóstol, Andahuaylillas, Peru 1032 39.4 Fray Andrés de San Miguel, Breve compendio de la carpintería de lo blanco 1034 39.5 Choir stalls at the Cathedral of Puebla, Mexico 1039 39.6 Miguel Mauricio (attributed). Tablón de Tlatelolco, Church of Santiago Tlatelolco, Mexico City 1041 39.7 The Defense of the Eucharist 1044 39.8 Saint James, Moxos, Bolivia. Source: Jaime Cisneros 1045 40.1 Moti Masjid, Delhi, c. 1659–1663 1058 40.2 Interior, Moti Masjid, Delhi, c. 1659–1663 1059 40.3 Bibi ka Maqbara, mausoleum of Rabi‘a Daurani, Aurangabad, 1660–1661 1060 40.4 Mausoleum of Safdar Jang, Delhi, 1753–1754 1061 40.5 Muhammad Shah Celebrating Holi, Bhupal Singh, c. 1737 1067 40.6 Akbar II in Darbar with the British Resident Charles Metcalfe in Attendance, attr. Ghulam Murtaza Khan, c. 1810–1811 1072 40.7 View of the Qutub Minar, c. 1815–1820, Ghulam ‘Ali Khan 1074 40.8 “Zafar in Captivity,” May 1858 1077 41.1 Main façade of one of the three talars in the citadel of Karim Khan (arg‐i karim khan), Shiraz, 1766–1767 1086 xvi ◼◼◼ List of Illustrations 41.2 Main façade of Fath ‘Ali Shah’s Imarat‐i Takht‐i Marmar, Golestan Palace, Tehran, 1806 1089 41.3 View of rock cut depicting Fath ‘Ali Shah on the throne, inside the Sasanian grotto of Taq‐i Bustan, Kirmanshah, nineteenth century 1092 41.4 Main façade of Bagh‐i Ferdows House, northern Tehran, 1840s 1094 41.5 Front façade of the police prefecture (shahrbani) in Darband, northern Tehran, c. 1935 1098 42.1 Tophane Coffeehouse, Istanbul, by Antoine‐Ignace Melling 1104 42.2 Coffeehouse of Ipsir Pasha, Aleppo 1105 42.3 Public garden and fountain at Emirgan, by William Bartlett after an engraving by J. Cousen 1110 42.4 Photograph showing Sahat al‐Burj in Beirut, c. 1898–1914 1117 42.5 “Jardin de l’Esbékieh” (Azbakiyya Garden). Albumen print attributed to Félix Bonfils (1860s–1880s) 1118 43.1 Mosque of Süleyman Pasha al‐Khadım, 1528, Cairo 1126 43.2 Public fountain of Mahmud I, Tophane, 1732, Istanbul 1129 43.3 Fountain of Mustafa III, 1759–1760, Cairo 1131 43.4 View looking towards the Nusretiye Mosque, Tophane, c. 1890–1900, Istanbul 1133 43.5 Sir David Wilkie, Highness Muhemed Ali, Pacha of Egypt, 1841 and Sultan Abdülmecid, 1840 1134 43.6 Albert Goupil, Photograph of Munastirli Palace, Rawda, built c. 1850, Cairo, 1868 1137 43.7 Anon., General view of Villa Harari, Garden‐City, 1921, Cairo 1142 43.8 Vakıf Han built by Mimar Kemalettin, 1912–1914, Istanbul 1143 44.1 Installation of Islamic collections at the Ottoman Imperial Museum, 1891 1156 44.2 Maison Bonfils, Interior of the Museum of Arab Art, display of mashrabiyya screens, c. 1883–1889 1159 44.3 Installation of Islamic collections at the Süleymaniye Mosque complex, c. 1914 1162 44.4 Installation of Islamic collections at the Tiled Pavilion of the Ottoman Imperial Museum, 1909. 1162 List of Illustrations ◼◼◼ xvii 44.5 Museum of Arab Art, Cairo. Ninth Hall (Metal Work) 1163 45.1 “Le Palais Persan,” Exposition Universelle, Paris, 1878 1179 45.2 Cairo Street, Exposition Universelle, Paris, 1889 1180 45.3 Exhibition of Persian and Arab Art, Burlington Fine Arts Club, London, 1885 1183 45.4 “English tourist” acquiring antiques 1186 45.5 Excavations in the plain of Rayy, 1936 1188 46.1 “Muslim Art in Paris,” photographic view of a room of the Exposition des arts musulmans, Paris, Palais de l’Industrie, 1893. 1200 46.2 Jules Bourgoin, “Epure 71,” Les Eléments de l’art arabe. Le trait des entrelacs, Paris, 1879. 1206 46.3 Owen Jones, “Moresque no. 5,” The Grammar of Ornament, London, 1856, Plate XLIII. 1209 46.4 Paul Klee, Structural I, 1924, gouache on paper, New York. Source: Metropolitan Museum of Art. 1215 47.1 I.M. Pei (Pei Cobb Freed & Partners), Museum of Islamic Art in Doha, Qatar, 2008 1224 47.2 Façade of al‐Aqmar Mosque (1125), Cairo, after restoration in the 1990s 1231 47.3 Cesar Pelli, The Petronas Towers in Kuala Lumpur, 1991 1236 47.4 Minaret of the Great Mosque of Aleppo (1090) 1240 48.1 Jumeirah Mosque, Hegazy Engineering Consultancy, c. 1979 1250 48.2 Al‐Fahidi Fort, renovated c. 1995 1254 48.3 Emirates NBD, Carlos Ott in consultation with NORR, 1997 1257 48.4 Al‐Kazim Towers, National Engineering Bureau (NEB), 2008 1260 48.5 Burj Khalifa, Adrian Smith with Skidmore, Owings, & Merrill, 2010 1261 49.1 Sedad Eldem, Taslık Coffee House, Istanbul, Turkey, 1947–1948 1272 49.2 Josep Lluís Sert, The chancery building of the US Embassy, Baghdad, Iraq, 1955–1960 1276 49.3 Jørn Utzon, Parliament Building, Kuwait City, Kuwait, 1972–1983 1280 xviii ◼◼◼ List of Illustrations 49.4 New use of mashrabiyya 1285 49.5 Aybars Asçı for SOM, Al‐Hamra Firdous Tower, Kuwait City, Kuwait, 2003–2010 1286 50.1 Ibrahim El Salahi, The Last Sound, 1964 1293 50.2 Ibrahim El Salahi, They Always Appear, 1964–1965 1295 50.3 Sadequain, Untitled, 1960 1296 50.4 Sadequain, Self‐portrait, 1966 1297 50.5 Anwar Jalal Shemza, Roots Three, 1984 1298 51.1 Yto Barrada, Dormeurs (Sleepers), 2006 1317 51.2 Hassan Khan, Jewel, 2010 1319 51.3 Walid Raad, Scratching on Things I Could Disavow, 2007–ongoing 1320 51.4 Installation view of Walid Raad, On Walid Sadek’s Love is Blind, 2009 1321 51.5 Abdel Hadi el‐Gazzar, Untitled (Face), 1946 1327 51.6 Jewad Selim, Majlis al‐Khalifa (Caliph’s Majlis), 1958 1329 51.7 Mohamed Melehi, photograph of the 1969 outdoor painting exhibition in Jemaa el‐Fna Square in Marrakech 1330 List of Maps Map of commonly cited cities xxvi 33.1 Istanbul, map with main landmarks in the mid‐seventeenth century 848 33.2 Isfahan, map with main landmarks of Safavid Isfahan 849 33.3 Map of Shahjahanabad, c. 1850 850 38.1 Map of maritime Southeast Asia indicating places mentioned 997 Notes on Contributors Esra Akcan is an Associate Professor in the Department of Architecture at Cornell University. She is the author of Architecture in Translation: Germany, Turkey and the Modern House, Turkey: Modern Architectures in History (with S. Bozdoğan), Çeviride Modern Olan, and Landfill Istanbul: Twelve Scenarios for a Global City. Her work specializes in the interactions between West Asia and Europe in architecture and urban environment. Tulay Artan is an Associate Professor at Sabancı University/Istanbul. She received her Ph.D. in History, Theory and Criticism (MIT, Cambridge, MA). Artan’s research focuses on the Ottoman elite in Istanbul in the seventeenth–eighteenth century. She has co‐ organized several major exhibitions of Ottoman art, and contributed to a number of exhibition catalogues. Nebahat Avcıoğlu is Associate Professor of Art History at Hunter College/CUNY. She specializes in Islamic art and architecture with a particular emphasis on cultural encounters. Her publications include Turquerie and the Politics of Representation, 1737–1876 (2011), and Architecture, Art and Identity in Venice and Its Territories 1450–1750 (edited with Emma Jones) (2013). Sussan Babaie teaches at the Courtauld Institute of Art in London. Her research focuses on Persianate architecture and visual culture in the early modern period. She is the author of the award‐winning Isfahan and Its Palaces: Statecraft, Shi‘ism and the Architecture of Conviviality in Early Modern Iran (2008). Thomas B.F. Cummins (Ph.D., University of California, Los Angeles) is The Dumbarton Oaks Professor of the History of Pre‐Columbian and Colonial Art at Harvard University. His research and teaching focuses on Pre‐Columbian and Latin American colonial art. Recent research interests include the study of late Pre‐Columbian systems of knowledge and representation, especially the Inca, and their impact on the formation of sixteenth‐ and seventeenth‐century colonial artistic and social forms (Toasts with the Inca: Andean Abstraction and Colonial Images on Kero Vessels and Native Traditions in the Colonial World). He has also published essays on New World town planning, the early images of the Inca, miraculous images in Colombia, and the relationship between visual and alphabetic literacy in the conversion of Indians. Notes on Contributors ◼◼◼ xxi Iftikhar Dadi is Associate Professor in the Department of History of Art at Cornell University. Research interests include modern art and popular culture, with emphasis on South and West Asia. Publications include the book Modernism and the Art of Muslim South Asia (2010). Chanchal Dadlani is Assistant Professor of Art History at Wake Forest University. Her research addresses early modern Mughal architecture and has been supported by the National Endowment for the Humanities, Getty Research Institute, and Andrew W. Mellon Foundation. Her work has been published in Ars Orientalis, Art History, and Artforum. Walter B. Denny is Distinguished Professor of Art History at the University of Massachusetts at Amherst. From 2007 to 2013 he served as Senior Consultant in the Department of Islamic Art at the Metropolitan Museum of Art. His scholarly specialties include Ottoman art, Islamic carpets and textiles, and East/West artistic interchange. Massumeh Farhad is Chief Curator and Curator of Islamic Art at the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian. She specializes in the arts of the book from Iran. María Judith Feliciano (Ph.D., University of Pennsylvania) is an independent scholar based in Seattle, specializing in the visual culture of the medieval and early modern Iberian world. Her work focuses on the interaction of Andalusi and Christian aesthetic practices in the artistic development of peninsular and viceregal societies. Recent research interests include the integration of the Andalusi archaeological past into the classicizing vocabulary of the Renaissance in Iberia, the study of the Iberian culture of sumptuous consumption, and the cross‐disciplinary study and scientific analysis of medieval textiles in Iberia and the Mediterranean. Emine Fetvacı is Associate Professor of Islamic Art and Architecture at Boston University. She is the author of Picturing History at the Ottoman Court, and co‐editor, with Erdem Çıpa, of Writing History in the Ottoman Empire. Her research focuses on the arts of the book in the early modern Islamic world. Finbarr Barry Flood is William R. Kenan Jr. Professor of the Humanities at the Institute of Fine Arts and Department of Art History, New York University. He publishes on late antiquity, Islamic architectural history and historiography, transcultural dimensions of Islamic art, image theory, museology, and Orientalism. His books include The Great Mosque of Damascus: Studies on the Makings of an Umayyad Visual Culture (2000), and Objects of Translation: Material Culture and Medieval “Hindu‐Muslim” Encounter (2009), awarded the 2011 Ananda K. Coomaraswamy Prize of the Association for Asian Studies. Lisa Golombek (Curator Emeritus, Royal Ontario Museum and Professor Emeritus, University of Toronto) received her B.A. in Middle East Studies from Barnard College in 1962, and her Ph.D. in Islamic Art from the University of Michigan in 1968. She was Curator of Islamic Art at the Royal Ontario Museum between 1967 until retirement in 2005, and Professor of Islamic Art at the University of Toronto. Her major publications focus on later Persian architecture and ceramics: The Timurid Architecture of Iran and Turan (with D. Wilber, 1988), The Timurid Shrine at Gazur Gah (1969), Tamerlane’s Tableware (with R.B. Mason and G.A. Bailey, 2006), and Persian Pottery in the First Global Age: the Sixteenth and Seventeenth Centuries (with R. B. Mason, P. Proctor, and E. Reilly, xxii ◼◼◼ Notes on Contributors 2014). She has authored over 70 articles on a wide range of topics, including Kufic epigraphy, tiraz textiles, and Persian gardens. Talinn Grigor (Ph.D., MIT, 2005) is Professor of Contemporary Art History at University of California, Davis. Her publications include Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs (2009), Contemporary Iranian Art: From the Street to the Studio (2014), and Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis (2015). Christiane Gruber’s primary field of research is Islamic book arts, paintings of the Prophet Muhammad, and Islamic ascension texts and images, about which she has written two books and edited a volume of articles. She also pursues research in Islamic book arts and codicology, having authored the online catalogue of Islamic calligraphies in the Library of Congress as well as edited the volume of articles, The Islamic Manuscript Tradition. Her third field of specialization is modern Islamic visual culture and post‐ revolutionary Iranian visual and material culture, about which she has written a number of articles and co‐edited two volumes. She recently completed her third book, titled The Praiseworthy One: The Prophet Muhammad in Islamic Texts and Images, due to appear in print in 2018. Shirine Hamadeh is Associate Professor in the Department of Art History at Rice University, author of The City’s Pleasures: Istanbul in the Eighteenth Century and various articles including in Muqarnas, Turcica and Journal of the Society of Architectural Historians. She is working on two books about Istanbul’s early modern history. Yuka Kadoi is an art historian with particular expertise in the artistic relationship between the Islamic world and East Asia in pre-modern times. She is the author of Islamic Chinoiserie: The Art of Mongol Iran (2009). Çig dem Kafesciog lu is Associate Professor at the Department of History at Bog aziçi University in Istanbul. She works on the urban, architectural, and visual culture of the early modern Ottoman world. She is the author of Constantinopolis/Istanbul: Cultural Encounter, Imperial Vision, and the Construction of the Ottoman Capital (2009). Ebba Koch (Professor Emeritus, University of Vienna) received her Dr. phil. in History of Art and Classical Archaeology from the University of Vienna, Austria, in 1986. She taught as a visiting professor at Harvard (2008–2009) and Oxford (2008) and was a senior researcher at the Austrian Academy of Sciences (2009–2014) and Tagore National Fellow for Cultural Research under the Indian Ministry of Culture (2015–2017). Dr. Koch has conducted major surveys of Mughal architecture in the Indian subcontinent. Her other research interests are Mughal painting and applied art, the political, social and symbolic meaning of art, and the artistic connections between the Mughals and their neighbors and Europe. She has published widely on these topics: her major publications are Mughal Architecture (1991/2014), Mughal Art and Imperial Ideology (2001), The Complete Taj Mahal and the Riverfront Gardens of Agra (2006/2012), and as co‐author with M.C. Beach, King of the World: The Padshahnama: An Imperial Mughal Manuscript from the Royal Library, Windsor Castle (1997). Notes on Contributors ◼◼◼ xxiii Rémi Labrusse teaches art history at the University of Paris Ouest – Nanterre and has curated two exhibitions on the collecting of Islamic arts in nineteenth‐century Europe. Elizabeth A. Lambourn is Reader (Associate Professor) in South Asian and Indian Ocean Studies at De Montfort University in the United Kingdom. Working across the fields of historical anthropology, historical archaeology, and material culture studies her research focuses on the mobility of people, things, and ideas in the medieval and early modern Indian Ocean world. Anneka Lenssen is an Assistant Professor of Global Modern Art in the History of Art Department at UC‐Berkeley. Her current research focuses on Arab art theory and practice, particularly in Syria and the eastern Mediterranean in the 1940s, 1950s, and 1960s. Tomoko Masuya is Professor of Islamic Art at the Institute for Advanced Studies on Asia, University of Tokyo, Japan. Her specialized topics are Ilkhanid art and Islamic tiles. Gülru Necipoglu is Aga Khan Professor of Islamic Art at the Department of History of Art and Architecture, Harvard University. She publishes on architecture and architectural practice, aesthetics of ornament and figural representation, cross‐cultural exchanges, and Islamic art historiography. Her books include Architecture, Ceremonial and Power: The Topkapı Palace (1991); The Topkapı Scroll, Geometry and Ornament in Islamic Architecture (1995), which won the Albert Hourani and Spiro Kostoff awards; and The Age of Sinan: Architectural Culture in the Ottoman Empire (2005), winner of the Fuat Köprülü award and the Albert Hourani honorable mention award. She edits the journal Muqarnas and its Supplements. Bernard O’Kane is Professor of Islamic Art and Architecture at the American University in Cairo, where he has been teaching since 1980. His most recent book is The Mosques of Egypt (2016). Kishwar Rizvi is Associate Professor of Islamic Art and Architecture at Yale University. She writes on the intersection of art and political ideology in Safavid Iran, as well as on religion and nationalism in the contemporary Middle East. She recently completed The Transnational Mosque: Historical Memory and the Contemporary Middle East (2015) which was funded by a grant from the Carnegie Foundation. Cynthia Robinson is Mary Donlon Alger Professor of Medieval and Islamic Art at Cornell University. She specializes in the interdisciplinary investigation of cultural and confessional interchange in the Mediterranean and beyond, 1000–1500 CE, with particular focus on medieval Iberia. She is the author of numerous monographs, edited collections, journal articles, and essays. Sarah A. Rogers is an independent scholar. Her writings have appeared in Parachute, Art Journal, and Arab Studies Journal. She is a founding member of AMCA: Association of Modern and Contemporary Art of the Arab world, Iran, and Turkey. David J. Roxburgh is Prince Alwaleed bin Talal Professor of Islamic Art History, Harvard University. He has published books (Prefacing the Image, 2001; The Persian Album, 2005) and articles on arts of the book and visual culture, with particular interest in art theory, aesthetics, and histories of reception. xxiv ◼◼◼ Notes on Contributors Yuthika Sharma is Assistant Professor of Art History at the University of Edinburgh. Her recent research has been on artistic knowledge and visual culture in South Asia in the long eighteenth century. She is the co‐author (with William Dalrymple) of Princes and Painters in Mughal Delhi, 1707–1857 (2012). Wendy M.K. Shaw (Ph.D. UCLA, 1999) is Professor of the Art History of Muslim Cultures in the Department of Art History at the Free University, Berlin. She researches art, its institutions, and its historiography in Middle Eastern contexts of modernity and postcoloniality. Major publications include Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire (2003) and Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic (2011). Marianna Shreve Simpson is a specialist in the arts of Iran during the medieval and early modern periods. She is a Visiting Scholar at the University of Pennsylvania in Philadelphia. Priscilla P. Soucek is the John Langeloth Loeb Professor in the History of Art at the Institute of Fine Arts, New York University. Her research and teaching focus on the centuries from 1200 to 1700 and on the regions of Iran, Iraq, and Central Asia with particular stress on the arts of the book. Secondary interests include the relationships between the ceramic traditions of these areas and those of East Asia and a comparative study of the role of figural depictions in Iran with those produced in the Indian subcontinent. Nancy S. Steinhardt is Professor of East Asian Art and Curator of Chinese Art at the University of Pennsylvania. She is author or co‐author of Chinese Traditional Architecture, Chinese Imperial City Planning, Liao Architecture, Chinese Architecture, Chinese Architecture and the Beaux‐Arts, Chinese Architecture in an Age of Turmoil, 200–600, China’s Early Mosques, and more than 70 scholarly articles. Imran bin Tajudeen is an Assistant Professor in the Department of Architecture at the National University of Singapore. He is an architectural historian, whose dissertation “Constituting and Reconstructing the Vernacular Heritage of Maritime Emporia in Nusantara” (National University of Singapore, 2009) won the International Convention of Asia Scholars Book Prize for Best Ph.D., Social Sciences in 2011. He works on historiographical problems with a focus on histories of production and contemporary representation. Stephen Vernoit has taught Islamic art at universities in Morocco and England. He is the author of Occidentalism: Islamic Art in the 19th Century (1997), and edited Discovering Islamic Art: Scholars, Collectors and Collections, 1850–1950 (2000) and Islamic Art in the 19th Century (2006, with D. Behrens‐Abouseif). Mercedes Volait is CNRS Research Professor at INHA (Institut national d’histoire de l’art, Paris). Her current research focuses on Mamluk revivalism in nineteenth‐century Cairo, seen in cross‐cultural perspective. She authored Fous du Caire (1867–1914) (2009), and Maisons de France au Caire (2012), and edited Le Caire dessiné et photographié au XIXe siècle (2013). Phillip B. Wagoner is Professor of Art History and Archaeology at Wesleyan University. He specializes in the art and cultural history of the Deccan and is the author, with Richard M. Eaton, of Power, Memory, Architecture: Contested Sites on India’s Deccan Plateau, 1300‐1600 (2014). Notes on Contributors ◼◼◼ xxv Heghnar Z. Watenpaugh is Associate Professor of Art History at the University of California, Davis. Her publications include, The Image of an Ottoman City: Imperial Architecture and Urban Experience in Aleppo in the Sixteenth and Seventeenth Centuries (2004), which received the Kostof Book Award from the Society of Architectural Historians. Laura Weinstein is Ananda Coomaraswamy Curator of South Asian and Islamic Art at the Museum of Fine Arts, Boston. Her research focuses on illustrated Persian and Urdu manuscripts produced in the sixteenth‐ and seventeenth‐century Deccan. Zeynep Yürekli is Associate Professor of Islamic Art and Architecture at the University of Oxford. She is the author of Architecture and Hagiography in the Ottoman Empire: The Politics of Bektashi Shrines in the Classical Age (2012). Her research interests include Ottoman architecture, manuscripts, hagiography, and historiography. Map of commonly cited cities. Source: Map prepared by C. Scott Walker, Harvard Map Collection.