Islamic Art & Architecture : Images & Maps

This is a collection of colour reproductions of maps of the Holy Land. They are accompanied by articles explaining the significance of the maps. The book is aimed at scholars, bibliophiles and collectors.

Presenting a portrait of the cultural heritage of Islam and its treasures, this title places the Muslim artistic legacy in the appropriate geographical, historical and artistic contexts and explains the significance of the faith's use of colour, form and texture through calligraphy, sculpture, architecture and other art forms.

In a world where the making and consumption of art is constantly changing, the term "Islamic art" can be hard to define. Through the exploration of a wide array of media--from painting, sculpture, and photography to video and multimedia--an internationally renowned group of scholars, collectors, artists, and curators tackles questions such as whether the art has to come from the Middle East, whether it must have a religious component, and, indeed, whether the work of art must be made by a Muslim. Based on a series of papers presented at the 7th Biennial Hamad bin Khalifa Symposium on Islamic Art in 2017, the essays in this volume grapple with these questions from a range of viewpoints. These texts--including beautiful illustrations of major works by contemporary artists from the Muslim world, including Newsha Tavakolian, Shahzia Sikander, Hassan Hajjaj and Lalla Essaydi--invoke a lively discussion of how the arts of the Islamic lands link the past with the present and the future. Distributed for the Qatar Foundation, Virginia Commonwealth University, and Virginia Commonwealth University School of the Arts in Qatar

Muslim women are opening up new educational and career pathways across the UK, pioneering roles in digital media, fashion design and visual art. However, their contributions to the economy and culture are rarely the focus of media and government reports. Now, Saskia Warren draws on in-depth fieldwork with British Muslim women working in these roles, taking a narrative approach to look at how they frame their own everyday labour experiences.
Drawing on interviews, focus groups, activity diaries, and online digital and visual analysis, Warren explores how Muslim womanhood is variously celebrated, contested, resisted and subverted. From negotiating family expectations to encountering prejudice from education providers and employers, and from founding businesses to finding ways to respect religion in their creative work, these personal insights bring the struggles and successes of British Muslim women creatives to life.