The Suleymanname is an imperial illuminated manuscript, housed in the Topkapi Museum in Istanbul. It was commissioned by the Sultan Suleyman I, who reigned from 1520 to 1566, when the Ottoman Empire was at its zenith. This facsimile edition is printed in four colours plus gold, and in tritone.
The Suleymanname is an imperial illuminated manuscript, housed in the Topkapi Museum in Istanbul. It was commissioned by the Sultan Suleyman I, who reigned from 1520 to 1566, when the Ottoman Empire was at its zenith. This facsimile edition is printed in four colours plus gold, and in tritone.
Essays by 33 colleagues, friends, and students of the Johns Hopkins University Arabist and linguist. Topics include (1) humanism, culture, and literature; (2) Arabic; (3) Aramaic; and (4) Afroasiatic.
This collection of articles by 14 Middle East historians is a pathbreaking work in the history of Middle Eastern women prior to the contemporary era. The collection seeks to begin the task of reconstructing the history of (Muslim) women's experience in the middle centuries of the Ottoman era, between the mid-seventeenth century and the early nineteenth, prior to hegemonic European involvement in the region and prior to the "modernizing reforms' inaugurated by the Ottoman regime.
Suleiman the Magnificent, most glorious of the Ottoman sultans, kept Europe atremble for nearly half a century. In a few years he led his army as far as the gates of Vienna, made himself master of the Mediterranean and established his court in Baghdad. Faced with this redoubtable champion, who regarded it as his duty to extend the boundaries of Islam farther and farther, the Christian world struggled to unite against him. 'The Shadow of God on Earth', but also an expert politician and all-powerful despot, Suleiman ruled the state firmly with the help of his viziers. He extended the borders of the empire beyond what any of the Ottoman sultans had achieved, yet it is primarily as a lawgiver that he is remembered in Turkish history. His empire held dominion over three continents populated by more than thirty million inhabitants, among whom nearly all of the races and religions of mankind were represented. Prospering under a well-directed, authoritarian economy, Suleiman's reign marked the apogee of Ottoman power. City and country alike experienced unprecedented economic and demographic growth. Istanbul was the largest city in the world, enjoying a remarkable renaissance of arts and letters; a mighty capital, it was the seat of the Seraglio and dark intrigue.
Sultan Suleyman the Magnificent (r.1520-1566) dominated the eastern Mediterranean and Ottoman worlds - and the imagination of his contemporaries - very much as his fellow sovereigns Charles V, Francis I and Henry VIII in the west. He greatly expanded the Ottoman empire, capturing Rhodes, Belgrade, Hungary, the Red Sea coast of Arabia, and even besieging Vienna. Patron and legislator as well as conqueror, he stamped his name on an age. These specially-commissioned essays by leading experts examine Suleyman's reign in its wider political and diplomatic context, both Ottoman and European. The contributors are: Peter Burke; Geza David; Suraiaya Faroqhi; Peter Holt; Colin Imber; Salih Uzbaran; Metin Kunt; Christine Woodhead; and Ann Williams.
A wealth of colorplates and a superb selection of black-and-white illustrations convey the unique quality of imperial Turkish art, in which richness and delicacy complement an underlying strength of design. -- Inside jacket flaps.
This early work on Suleiman the Magnificent is both expensive and hard to find in its first edition. It details the life of a sixteenth century Sultan and is a fascinating work thoroughly recommended anyone interested in the history of the Ottoman Empire. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Islamic Visual Culture, 1100-1800 is the second in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art 650-1100; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The focus of the present volume is on the key centuries - the eleventh through fourteenth - during which the main directions of traditional Islamic art were created and developed and for which classical approaches of the History of Art were adopted. Manuscript illustrations and the arts of objects dominate the selection of articles, but there are also forays into later times like Mughal India and into definitions of area and period styles, as with the Mamluks in Egypt and the Ottomans, or into parallels between Islamic and Christian medieval arts.