Islamic Art and Architecture, 650–1250

Richard Ettinghausen, Oleg Grabar, and Marilyn Jenkins-Madina

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July 11, 2003
360 pages, 8 1/2 x 11 1/8
350 b/w + 150 color illus.
ISBN: 9780300088694
Paper

Also Available in:
Cloth

This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances.

The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book.
With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.

Oleg Grabar is Professor Emeritus of the School of Historical Studies at the Institute for Advanced Study, Princeton, and Marilyn Jenkins-Madina is Research Curator of Islamic Art at The Metropolitan Museum of Art, New York. They were both long-time colleagues of Richard Ettinghausen, who was professor of Islamic Art at the Institute of Fine Arts, New York University, and Consultative Chairman of Islamic Art at The Metropolitan Museum of Art until his death in 1979.

"This second revised edition is virtually a new book. In a significantly larger format, it increases the number of illustrations by 20 percent. Also, many of the excellent illustrations are in color, not present in the first edition. . . . [The text] is both a survey of our knowledge, and the limits of that knowledge, and a stimulating interpretive essay. Including all media, and the entire territory from Spain to Central Asia, this book is the indispensable point of departure for the study of early Islamic art. Every library should own this splendid book."—Choice

“This is the second edition of what is probably the standard reference work on Islamic art and architecture. . . . It is difficult to do justice to this magnificent volume in a short review. It is an authoritative, highly readable, and beautifully produced work that should please specialists and educated readers alike. The photographs are plentiful and clearly reproduced, and many architectural drawings and plans illuminate the topic under discussion. . . . Highly recommended for academic and larger public libraries.”—Library Journal

“From the Dome of the Rock to a pair of gold earrings, all manner of art is explored in [this] new edition, which surveys works from Spain, Northern Africa and the Middle East. With new illustrations and an expanded text . . . the book traces the growth of art centers in Muslim lands and examines buildings, textiles, books, ceramics and other forms.”—Publishers Weekly

“The new edition is a more interesting and more beautiful book than the original and ensures the place of the Pelican as the single most authoritative source for the history of Islamic art and architecture through the mid-thirteenth-century.”—D. Fairchild Ruggles, CAA Reviews

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