دانلود کتاب Artistic and Cultural Dialogues in the Late Medieval Mediterranean

فهرست مطالب :

Foreword
Preface
Acknowledgements
Contents
Notes on contributors
List of Figures
Part I: Al-Andalus Beyond al-Andalus: The Maghreb and the Mashriq
Chapter 1: From the Islamic West to Cairo: Malikism, Ibn Tūmart, al-Ghazālı̄ and al-Qāḍı̄ ‘Iyāḍ’s Death
1.1 Brief Note on ‘Iyāḍ’s Life
1.2 Narrating al-Qāḍı̄ ‘Iyāḍ’s Death
1.3 Line B. Ibn Farḥūn, the Mālikı̄ madhhab and ‘Iyāḍ’s Death Poisoned by a Jew
1.4 Line C. Al-Bunnāhı̄ and the Strangulation of al-Qāḍı̄ ‘Iyāḍ
1.5 Line D. ‘Iyāḍ, al-Ghazālı̄ and Ibn Tūmart
1.6 Final Remarks
References
Chapter 2: The “Bestsellers” of al-Andalus
2.1 Introduction
2.2 What Is an Andalusi “Bestseller”?
2.3 The “Bestsellers” of al-Andalus
2.4 The “Bestsellers” of the Sixth/Twelfth-Seventh/Thirteenth Centuries
2.5 Concluding Remarks
References
Chapter 3: Spolia and Classical Revivals in Legitimacy Discourses: From Cordoba to the Mamluk Mosques of Cairo
3.1 Strategies and Sources of Self-Affirmation in al-Andalus in the Tenth Century
3.1.1 Continuity and Rupture from the Eighth to the Tenth Century
3.1.2 The Written Sources: An “Illustrated History”
3.2 Classic Mosques for Mamluk Sultans in Cairo: From Baybarṣ to al-Nāṣir
References
Part II: Andalusi Legacy in Medieval Christian Art
Chapter 4: Visual Traits of Otherness: Figurative Resources Used in the Depiction of Muslims in Mediterranean Romanesque Sculpture
References
Chapter 5: Islamicate Goods in Gothic Halls: The Nachleben of Palma de Mallorca’s Islamic Past
References
Chapter 6: Granada and Castile in the Shared Context of the Islamic Art in the Late Medieval Mediterranean
6.1 Introduction: Why Should We Have to Expand the Context to Understand the Andalusi Art?
6.2 The Meaning of Ornament (Grabar 1992): The Palace of the Lions in the Alhambra and muqarnaṣ Domes in the Crown of Castile. A Shared Orthodox Symbol of the Creation and the Virtue
6.3 The Comares Palace of the Alhambra and the Royal Alcazar of Seville. The Iwān al-Kabı̄r in Cairo and the Architecture of Power. An Important Missing Item to Consider
6.4 Why Did Castile Accept the Islamic Art in its Own Messages? Mozarabs of Toledo: Arabisation and Islamisation
6.5 Some Conclusions
References
Part III: Andalusi Cultural Legacy in the Iberian Societies
Chapter 7: In the Shadow of Toledo, Seville, and Granada: On the Historic Significance of Murcia for the Transmission of Islamic Knowledge in the Twelfth and Thirteenth Centuries
7.1 The Reign of Muḥammad ibn Mardanı̄sh, Murcia’s Glory
7.2 After Ibn Mardanı̄sh: Murcia in Crisis
7.3 The Valley of Ricote as an Incubator of Islamic Erudition
7.3.1 Ibn Sab‘ı̄n
7.3.2 Muḥammad al-Riqūṭı̄
7.4 Murcia’s Last Great Phase of Cultural Exchange under Alfonso X
7.5 Conclusion: Rebellious and Resilient
References
Chapter 8: Islamic Legacy in Medieval Iberian Societies: Building Rules
8.1 Formation and Mission
8.2 Transformation and Transmission
8.3 Closing Remarks
References
Chapter 9: From aḥbās to habices: Continuity and Transformation of Pious Endowments after the Castilian Conquest of Nasrid Granada
9.1 Introduction
9.2 The Transfer of Islamic Pious Endowments to Christian Institutions
9.3 Church Properties in Sixteenth-Century Granada: bienes habices Versus bienes de fábrica
9.4 Church habices in Nineteenth-Century Granada: Hypotheses about their Ultimate Fate
9.5 Conclusions
References
Part IV: Circulation of Cultural Goods in the Medieval Mediterranean
Chapter 10: Siculo-Arabic, Andalusi and Fatimid Ivory Works: Iconographic Transfers and Visual Propaganda
References
Chapter 11: Ornamental Transfers in Textile Production in Almohad and Nasrid Periods
11.1 Introduction: Origin of the Textile Production in al-Andalus
11.2 Textile Production Between the Twelfth and Fifteenth Centuries
11.3 Chronological Classification
11.4 Conclusion
References
Chapter 12: Art and Science in al-Andalus and the Late Medieval Mediterranean Cultures: Almohad, Nasrid and Ayyubid Astrolabes in their Context
12.1 Introduction
12.2 Approaching the Astrolabe as a Cultural Good
12.3 Universal Astrolabes: A Challenge for Islamic Astronomers at both Ends of the Mediterranean Sea
12.4 Astrolabes as Aesthetic-Scientific Objects in Eastern and Western Mediterranean
12.5 Conclusion
References
Part V: Final Remarks
Chapter 13: Final Remarks: ArtMedGIS Project: Artistic Exchanges between East and West in the Late Medieval Mediterranean
References
Index