In Picturing the Islamicate World, Nadja Danilenko explores the message of the first preserved maps from the Islamicate world. Safeguarded in al-Iṣṭakhrī’s Book of Routes and Realms (10th century C.E.), the world map and twenty regional maps complement the text to a reference book of the territories under Muslim rule. Rather than shaping the Islamicate world according to political or religious concerns, al-Iṣṭakhrī chose a timeless design intended to outlast upheavals. Considering the treatise was transmitted for almost a millennium, al-Iṣṭakhrī’s strategy seems to have paid off. By investigating the Persian and Ottoman translations and all extant manuscripts, Nadja Danilenko unravels the manuscript tradition of al-Iṣṭakhrī’s work, revealing who took an interest in it and why.

"In this ... book, three .. historians bring tio life the complex and tumultuous relations between Genoans and Tunisians, Alexandrians and the people of Constantinople, Catalans and Maghrebis - the myriad groups and individuals whose stories reflect the common cultural and religious heritage of Europe and Islam. Since the seventh century, when the armies of Constantinople and the Medina fought for control of Syria and Palestine, there has been ongoing contact between the Muslim world and the West. This sweeping history recounts the wars and the crusades, the alliances and diplomacy, commerce and the slave trade, technology transfers, and the intellectual and artistic exchanges. [Readers] are given an ... introduction to key periods and events, including the Muslim conquests, the collapse of the Byzantine Empire, the commercial revolution of the medieval Mediterranean, the intellectual and cultural achievements of Muslim Spain, the crusades and Spanish reconquista, the rise of the Ottomans and their conquest of a third of Europe, European colonization and decolonization, and the challenges and promises of this entwined legacy today. ..."--Jacket.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

The history of Islamic mapping is one of the new frontiers in the history of cartography. This book offers the first in-depth analysis of a distinct tradition of medieval Islamic maps known collectively as the Book of Roads and Kingdoms (Kitab al-Masalik wa al-Mamalik, or KMMS). Created from the mid-tenth through the nineteenth century, these maps offered Islamic rulers, scholars, and armchair explorers a view of the physical and human geography of the Arabian peninsula, the Persian Gulf, the Mediterranean, Spain and North Africa, Syria, Egypt, Iraq, the Iranian provinces, present-day Pakistan, and Transoxiana. Historian Karen C. Pinto examines around 100 examples of these maps retrieved from archives across the world from three points of view: iconography, context, and patronage. By unraveling their many symbols, she guides us through new ways of viewing the Muslim cartographic imagination.

In 902 the last Byzantine stronghold in Sicily fell, and the island would remain under Muslim control until the arrival of the Normans in the eleventh century. Drawing on a lifetime of translating and linguistic experience, William Granara here focuses on the various ways in which medieval Arab historians, geographers, jurists and philologists imagined and articulated their ever-changing identities in this turbulent period. All of these authors sought to make sense of the island's dramatic twists, including conquest and struggles over political sovereignty, and the painful decline of social and cultural life. Writing about Siqilliya involved drawing from memory, conjecture and then-current theories of why nations and people rose and fell. In so doing, Granara considers and translates, often for the first time, a vast range of primary sources - from the master chronicles of Ibn al-Athir and Ibn Khadun to biographical dictionaries, geographical works, legal treatises and poetry - and modern scholarship not available in English. He charts the shift from Sicily as 'warrior outpost' to vital and productive hub that would transform the medieval Islamic world, and indeed the entire Mediterranean.

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.

This volume showcases a variety of innovative approaches to the study of Muslim societies and cultures, inspired by and honouring Gudrun Krämer and her role in transforming the landscape of Islamic Studies. With contributions from scholars from around the world, the articles cover an extraordinarily wide geographical scope across a broad timeline, with transdisciplinary perspectives and a historically informed focus on contemporary phenomena. The wide-ranging subjects covered include among others a “men in headscarves” campaign in Iran, an Islamic call-in radio programme in Mombassa, a refugee-related court case in Germany, the Arab revolutions and aftermath from various theoretical perspectives, Ottoman family photos, Qurʾān translation in South Asia, and words that can’t be read.