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Review
Sheila S. Blair is a seasoned author with an excellent track record in publishing both specialised and general books on Islamic art. Indeed she is an undisputed star in her field. -- Professor Robert Hillenbrand, University of Edinburgh I can think of no one more qualified to produce such a volume! She is a recognised and highly-regarded expert in the field --Professor W. M. Thackston, Harvard University
--This text refers to the
Hardcover
edition.
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WINNER OF THE BRITISH-KUWAIT FRIENDSHIP SOCIETY PRIZE 2007 'This must be the best book ever written about Islamic Calligraphy. Its author has carefully judged it to meet the demands not only of anyone interested in Arabic writing, but also of specialists. The Judges Panel agreed that this is a work of profound erudition and insight.' Now available in paperback, this stunning book is an important contribution to a key area of non-western art, being the first reference work on art of beautiful writing in Arabic script. The extensive use of writing is a hallmark of Islamic civilization. Calligraphy, the art of beautiful writing, became one of the main methods of artistic expression from the seventh century to the present in almost all regions from the far Maghrib, or Islamic West, to India and beyond. Arabic script was adopted for other languages from Persian and Turkish to Kanembu and Malay. Sheila Blair's groundbreaking book explains this art form to modern readers and shows them how to identify, understand and appreciate its varied styles and modes.The book is designed to offer a standardized terminology for identifying and describing various styles of Islamic calligraphy, and to help Westerners appreciate why calligraphy has long been so important in Islamic civilization. The argument is enhanced by the inclusion of more than 150 colour illustrations, as well as over 100 black-and-white details that highlight the salient features of the individual scripts and hands. Examples are chosen from dated or datable examples with secure provenance, for the problem of forgeries and copies (both medieval and modern) is rampant. The illustrations are accompanied by detailed analyses telling the reader what to look for in determining both style and quality of script. This beautiful book is an ideal reference for anyone with an interest in Islamic art.
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11 of 13 people found the following review helpful
An essential key to understanding Islamic arts and civilization
14 Dec 2006
Format:Hardcover
Every college-level collection strong in either Middle Eastern Studies or Middle Eastern art must have ISLAMIC CALLIGRAPHY: it's a specialty item for the serious holding which offers the first reference work on Arabic script. Calligraphy is one of the foundation arts of Islamic culture and has been a primary method of artistic expression from the 7th century to modern times, so it well deserves its own book and is anything but the 'esoteric art' Westerners might believe. Over 150 color illustrations and over a hundred black and white details come from dated examples to provide insights on everything from construction and history to identifying forgeries and understanding differing styles. An essential key to understanding Islamic arts and civilization, this reference is not to be missed.
Diane C. Donovan
California Bookwatch
Diane C. Donovan
California Bookwatch
14 of 19 people found the following review helpful
contents of this book
22 Jan 2007
Format:Hardcover
Table of Contents
PART I: INTRODUCTION
Chapter 1: Arabic Script: Its Role and Principles
A. The importance of writing in Islamic culture
B. Principles of Arabic script
C. The Koranic Text
Chapter 2: Materials
A. Supports
B. Special papers
C. Pens and pen cases
D. Inks and inkwells
PART II: THE DEVELOPMENT OF ARABIC SCRIPT IN EARLY ISLAMIC TIMES
Chapter 3: The Standardization of Arabic Script
A. The origins of Arabic script
B. The development of Arabic script
C. The evolution of a calligraphic style
Chapter 4: Early Manuscripts of the Koran
A. Physical characteristics
B. Methodologies for dating
C. Considerations for further study
PART III: THE PREEMINENCE OF ROUND SCRIPTS IN THE EARLY MIDDLE PERIOD
Chapter 5: The Adoption of Round Styles
A. Round book script
B. The new style of broken cursive
C. Broken cursive and Ibn Muqla
D. The standardization of naskh and thuluth under Ibn al-Bawwab
E. What caused the canonization of round scripts in the ninth century?
Chapter 6: The Diversification of Round Scripts
A. The stylization of broken cursive
B. Other round scripts
C. Towards a codification of round scripts
D. Pairs of text scripts
E. Maghribi script
PART IV: THE EMERGENCE OF REGIONAL STYLES IN THE LATER MIDDLE PERIOD
Chapter 7: Calligrpahy in Iran and its Environs under the Mongols and Turkomans
A. The Six Pens under the Ilkhanids and Jalayirids
B. The Six Pens under the Timurids and Turkomans
C. The Hanging Scripts
Chapter 8: Rectilinear and Curvilinear Scripts in Egypt and Syria under the Mamluks
A. Rectilinear scripts
B. Curvilinear scripts
C. Hybrid scripts
Chapter 9: Other Styles and Centers
A. Anatolia
B. India
C. The Maghrib
PART V: DYNASTIC STYLES IN THE AGE OF EMPIRES
Chapter 10: The Safavids, the Qajars, and their Contemporaries in Iran and Central Asia
A. Refinement of the Six Pens
B. Refinement of the hanging scripts
C. Pictorial writing
Chapter 11: The Ottomans in Anatolia, the Balkans, and the Eastern Mediterranean
A. The Canonization of naskh as text script Training, sources, and materials
B. The Canonization of thuluth as display script
C. The Hanging scripts
Chapter 12: Other styles and centers
A. The Mughals and their contemporaries in India
B. The Indian Ocean
C. The Maghrib
D. Sub-Saharan Africa
PART VI: THE MANY FACES OF ISLAMIC CALLIGRAPHY IN MODERN TIMES
Chapter 13: From traditional styles to calligraphic art and design
A. Traditional styles
B. Printing, typography, and computer graphics
C. Calligraphic art
Bibliography
PART I: INTRODUCTION
Chapter 1: Arabic Script: Its Role and Principles
A. The importance of writing in Islamic culture
B. Principles of Arabic script
C. The Koranic Text
Chapter 2: Materials
A. Supports
B. Special papers
C. Pens and pen cases
D. Inks and inkwells
PART II: THE DEVELOPMENT OF ARABIC SCRIPT IN EARLY ISLAMIC TIMES
Chapter 3: The Standardization of Arabic Script
A. The origins of Arabic script
B. The development of Arabic script
C. The evolution of a calligraphic style
Chapter 4: Early Manuscripts of the Koran
A. Physical characteristics
B. Methodologies for dating
C. Considerations for further study
PART III: THE PREEMINENCE OF ROUND SCRIPTS IN THE EARLY MIDDLE PERIOD
Chapter 5: The Adoption of Round Styles
A. Round book script
B. The new style of broken cursive
C. Broken cursive and Ibn Muqla
D. The standardization of naskh and thuluth under Ibn al-Bawwab
E. What caused the canonization of round scripts in the ninth century?
Chapter 6: The Diversification of Round Scripts
A. The stylization of broken cursive
B. Other round scripts
C. Towards a codification of round scripts
D. Pairs of text scripts
E. Maghribi script
PART IV: THE EMERGENCE OF REGIONAL STYLES IN THE LATER MIDDLE PERIOD
Chapter 7: Calligrpahy in Iran and its Environs under the Mongols and Turkomans
A. The Six Pens under the Ilkhanids and Jalayirids
B. The Six Pens under the Timurids and Turkomans
C. The Hanging Scripts
Chapter 8: Rectilinear and Curvilinear Scripts in Egypt and Syria under the Mamluks
A. Rectilinear scripts
B. Curvilinear scripts
C. Hybrid scripts
Chapter 9: Other Styles and Centers
A. Anatolia
B. India
C. The Maghrib
PART V: DYNASTIC STYLES IN THE AGE OF EMPIRES
Chapter 10: The Safavids, the Qajars, and their Contemporaries in Iran and Central Asia
A. Refinement of the Six Pens
B. Refinement of the hanging scripts
C. Pictorial writing
Chapter 11: The Ottomans in Anatolia, the Balkans, and the Eastern Mediterranean
A. The Canonization of naskh as text script Training, sources, and materials
B. The Canonization of thuluth as display script
C. The Hanging scripts
Chapter 12: Other styles and centers
A. The Mughals and their contemporaries in India
B. The Indian Ocean
C. The Maghrib
D. Sub-Saharan Africa
PART VI: THE MANY FACES OF ISLAMIC CALLIGRAPHY IN MODERN TIMES
Chapter 13: From traditional styles to calligraphic art and design
A. Traditional styles
B. Printing, typography, and computer graphics
C. Calligraphic art
Bibliography
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