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• Hegira, year 1400 : modernity of Islam / Salah Stétié
• Muhammad, prophet of God / Muhammad Hamidullah
• A landmark of importance in history / Cesar Adib Majul
• A separation that is still relevant / Moulay Taieb Baiti
• The Hijra and its cultural consequences throughout history / Emel Esin
• Some effects of the Hijra / Subhi El-Saleh
• Culture and Islam / Tahar Guiga
• Science and technology in Islam / Ahmad Y. Al-Hassan
• Islam in Senegal / El Hadji Ravane Mbaye
• The evolution of Islam in Indonesia / H.A. Mukti Ali
• Migration of concepts and figures / Adolphe Balit
• Al-Andalus as a source of inspiration in the poets of the southern Mahjar / Pedro Martínez Montávez
• Cultural encounter and cultural collision in a Lebanese thinker : Amin al-Rihani / Carmen Ruiz Bravo
• Ibn Sina's prophetic philosophy / Seyyed Hossein Nasr
• A mediator betwen three worlds / Erkka Maula
• Ibn Sina and avicennism / Vincent Mansour Monteil.

• Islam in the world : cultural diversity within spiritual unity / Seyyed Hossein Nasr
• Islamic philosophy : the eastern and western schools / Muhsin Mahdi
• The philosophical thought of Islam in the Middle Ages / Jean Jolivet
• The Islamic consciousness : a cultural profile / Mohammed Arkoun
• The search for cultural identity in Islam : fundamentalism and occidentalism / Majid Fakhry
• Reformism in modern Islam / Ali Merad
• Islam in the light of its sources / Abdul Aziz Kamel
• Contemporary art and artistic life in Syria / Afif Bahnassi
• The Arab musical tradition / Salah El Mahdi
• Islam and the Arab world in the Journal of world history (1953-1972) and Cultures.

• Getting things unfolded
• Islamic aesthetics and new media art: points of contact
• The haptic transfer and the travels of the abstract line, part I
• The haptic transfer and the travels of the abstract line, part II
• The haptic transfer and the travels of the abstract line, part III
• Baghdad,
• 830: birth of the algorithm
• Baghdad,
• 1000: origin of the pixel
• Cairo,
• 972: ancestor of the morph
• Herat,
• 1487: early virtual reality
• Karabagh,
• 1700: seeds of artificial life.

In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the "Islamic" quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, "nonorganic life" in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.
(source: Nielsen Book Data)

• Introduction
• Architecture
• Calligraphy
• Mughal painting
• The art of coinage
• Arabic and Persian literature.

• List of Figures-- Acknowledgements-- Notes for the Reader-- Image and Text Acknowledgements-- Introduction--
• Part 1: Foundations--
• 1. Theoretical Formulations--
• Part 2: Human Dimensions--
• 2. The Organisation of Labour--
• 3. Rituals, Songs and Poems--
• 4. Biographical Information--
• 5. The Lives of Artisans and Artists--
• Part 3: Resources--
• 6. Raw Materials I: minerals--
• 7. Raw Materials II: plants--
• 8. Raw Materials III: animals--
• 9. Mining and Metal Preparation--
• 10. City Descriptions--
• Part 4: Inorganic Media--
• 11. Copper--
• 12. Iron and Steel--
• 13. Other Metals: Gold, Silver and Tin--
• 14. Pottery--
• 15. Glass--
• Part 5: Organic Media--
• 16. Wood--
• 17. Basketry and Matting--
• 18. Leather--
• 19. Spinning, Bleaching and Dyeing--
• 20. Weaving--
• 21. Rugs, Carpets and Felt--
• Part 6: Writing and Painting--
• 22. Papyrus and Paper--
• 23. Calligraphy--
• 24. Painting--
• Part 7: Architecture and Engineering--
• 25. Building Techniques--
• 26. Vaulting and Architectural Decoration--
• 27. Engineering--
• Part 8: Economic Considerations--
• 28. Recycling and Repair--
• 29. Crafts in an Age of Competition and Change-- Glossary-- Names of Craft Activities in Arabic and Persian-- Bibliography-- Index.
• (source: Nielsen Book Data)

Islamic art is justly famed for its technological sophistication, varied approaches to ornament, and innovative employment of the written word. But what do we know about the skilled artisans who spent their lives designing and creating the paintings, objects and buildings that are so admired today? This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts. Readers will learn about: the legal and ethical dimensions of the arts and crafts, the organisation of labour in urban and rural contexts, the everyday lives of artisans, the gendered dimensions of making things, and the impact of industrialisation upon traditional methods of manufacture. Each chapter begins with an introduction providing a wider context for the primary sources. There are also suggestions for further reading.
(source: Nielsen Book Data)

• Introduction: The relation between Islamic art and Islamic spirituality
• Art and the Sacred. The spiritual message of Islamic calligraphy
• The principle of unity and the sacred architecture of Islam
• Sacred art in persian culture
• Literature. Metaphysics, logic, and poety in the Orient
• The fligh of birds to union : meditations upon 'Aṭṭār's Manṭiq Al-ṭayr
• Rūmī, supreme poet and sage
• Rūmī and the Sufi tradition
• Music. Islam and music
• The influence of Sufism on traditional Persian music
• The Plastic Arts. The world of imagination and the concept of space in the persian miniature
• The significance of the void in Islamic art
• Postscript: The spiritual message of Islamic art.

"With remarkable breadth of vision, Seyyed Hossein Nasr reveals for both Western and Muslim readers how each art form in the islamic tradition is based upon a science of nature concerned, not with the outer appearance of things, but with their inner reality. Ranging across calligraphy, painting, architecture, literature, music, and the plastic arts, Nasr penetrates to the inner dimension of Islam and shows the role art plays in the life of individual Muslims and the community as a whole--the role of inspiring the remembrance and contemplation of God. Once the author establishes art as an aid and support to the spiritual life, he traces the creative act to its ultimate source: inner knowledge and barakah, or grace, which make the crystallization of inner realities in form and space and time possible. Through this knowledge and grace, the author asserts, unity manifests upon the plane of multiplicity, making archetypal realities perceivable by the senses. Through this knowledge and grace, art functions as a ladder for the journey of the soul from the visible to the invisible. How Islamic art leads man to the inner chamber of divine revelation forms the substance of much of this important work. An especially close look is given to the Sufi tradition within Islam, for its mystical teachers have often clearly demonstrated in their works the spiritual significance of beauty and served as the source of inspiration for art. By rediscovering the root of art in the Islamic tradition, Seyyed Hossein Nasr opens doors to new dimensions of unity which have seemingly been obscured in recent Western art. In so doing, he extends the significance of this book beyond the Islamic belief system to touch the hearts and creative impulses of readers from all traditions"--Back cover.

The Qur'an makes rich references to light, tying it to revelation, and light consequently permeates the culture and visual arts of the Islamic lands. God Is the Light of the Heavens and the Earth explores the integral role of light in Islamic civilization across a wide range of media, from the Qur'an and literature to buildings, paintings, performances, photography, and other works produced over the past 14 centuries. A team of international experts conveys current scholarship on Islamic art in a manner that is engaging and accessible to the general reader. The objects discussed include some of the first identifiable works of Islamic art-modest oil lamps inscribed in Arabic, which developed into elaborately decorated metal and glass lamps and chandeliers. Later, photography, which creates images with light, was readily adopted in Islamic lands, and it continues to provide inspiration for contemporary artists. Generously illustrated with specially commissioned, sumptuous color photographs, this book shows the potential of light to reveal color, form, and meaning.
(source: Nielsen Book Data)

Edited by Oleg Grabar, one of the leading experts in Islamic art history, along with Cynthia Robinson, this book breaks new ground in the field of Middle Eastern art history. While illuminated manuscripts from Persia and the Arab world are outstanding masterpieces of art, only recent scholarship in Islamic visual culture includes written sources in its consideration of the relationships between the textual and visual worlds. Likewise, scholars of Arabic and Persian literature have become aware of the comparative and interpretive possibilities contained within visual sources. Nevertheless, separation between the two fields of inquiry remains prevalent. These six essays - three by art historians and three by specialists in Arabic and Persian literature - examine specific instances in which texts and images which would seem to have been intended as one cultural product have traditionally been studied separately. Each essay reunites visual and written or oral products in order to evaluate the mechanisms through which written (or spoke) texts and the images produced in conjunction with them operate in precise contexts. The essays are enhanced with beautiful illustrations selected by the contributors.
(source: Nielsen Book Data)

• Introduction / Amy S. Landau
• Public works and public lives: biographical sources for patrons, writers, and artists in the premodern Islamicate world / Paul Losensky
• What do inscriptions on objects do? Beyond calligraphy and textual history / Avinoam Shalem
• Transcultrual trends, personal diaries, and collective agendas / Sussan Babaie
• Great ladies and noble daughters: ivories and women in the Umayyad Court at Córdoba / Glaire D. Anderson, Mariam Rosser-Owen
• Administering art, history, and science in the Mongol Empire: Rashid al-Din and Bolad Chengxiang / Persis Berlekamp, Vivienne Lo, Wang Yidan
• Al-Nasir Muhammad and the formation of the Qalawunid State / Willem Flinterman, Jo Van Steenbergen
• Art and literature in Timurid Herat, 1469-1506: the life and times of Sultan 'Ali Mashhadi / David J. Roxburgh
• Reimagining the "Idol Temple of Hindustan": textual and visual translation of Sanskrit texts in Mughal India / Qamar Adamjee, Audrey Truschke
• Man, mode, and myth: Muhammad Zaman ibn Haji Yusuf / Amy S. Landau
• Armed and splendorous: the jeweled gun of Sultan Mahmud I / Bora Keskiner, Ünver Rüstem, Tim Stanley.

"Pearls on a String" presents the arts of historical Islamic cultures by focusing on specific people and relationships among cultural tastemakers, especially painters, calligraphers, poets, and their patrons. Through a series of chapters, the book spotlights certain historical moments from across the Islamic world. Each chapter pivots around patrons and their social networks. These independent sections allow different voices and perspectives to emerge, enabling the reader to see that Islamic societies are not monolithic but made up of a tapestry of individuals with distinct and varying views. " Pearls on a String" pays particular attention to individuals from different sectors of society, giving voice to anonymous artists and translators, merchants, and women of the harem. Islamic historical sources reinforce the book's themes of writing in Islamic societies, artistic patronage, biographical traditions, and human connectivity.
(source: Nielsen Book Data)