Since the seventh century, the Hajj, or Great Pilgrimage to Mecca, has been a lifelong goal of devout Muslims throughout the world. Egyptian pilgrims traditionally celebrate their sacred journey by commissioning a local artist to depict their religious odyssey on the walls of their homes. This book shows the richness and variety of this naive art form covering images from towns, villages, and isolated farm communities along the Nile, across the Delta, down the Red Sea coast, and into Sinai. On the walls of buildings ranging from alabaster factories to mud-brick farmhouses they found brilliant murals illuminated by the desert sun, portraying beloved icons of the pilgrims' faith and scenes from the Qur'an.
The annual ritual pilgrimage to Makkah was established by the Prophet Muhammad in the last year of his life (AD 632). Over the following centuries the experience and importance of Hajj have been evocatively documented in countless ways. Highlighting the pilgrims' journey across time, the sacred rituals of Hajj, and the city of Makkah itself, this beautiful little book features illuminated manuscripts, wall paintings and photographs, as well as calligraphy, textiles, scientific instruments, decorative tiles, maps, ceramics, metalwork and powerful works by contemporary artists. Published to coincide with a major exhibition at the British Museum, from 26 January to 15 April 2012.
An ethnographic tapestry of personal and institutional narratives about Jerusalem’s social history. Overlooking the Border: Narratives of Divided Jerusalemby Dana Hercbergs continues the dialogue surrounding the social history of Jerusalem. The book’s starting point is the border that separated the city between Jordan and Israel in 1948–1967, a lesser-known but significant period for cultural representations of Jerusalem. Based on ethnographic fieldwork, the book juxtaposes Israeli and Palestinian personal narratives about the past with contemporary museum exhibits, street plaques, tourism, and real estate projects that are reshaping the city since the decline of the peace process and the second intifada. What emerges is a portrayal of Jerusalem both as a local place with unique rhythms and topography and as a setting for national imaginaries and agendas with their attendant political and social tensions. As sites of memory, Jerusalem’s homes, streets, and natural areas form the setting for emotionally charged narratives about belonging and rights to place. Recollections of local customs and lifeways in the mid-twentieth century coalesce around residents’ desire for stability amid periods of war, dispossession, and relocation—intertwining the mythical with the mundane. Hercbergs begins by taking the reader to the historically Arab neighborhoods of West Jerusalem, whose streets are a battleground for competing historical narratives about the Israeli-Arab War of 1948. She goes on to explore the connections and tensions between Mizrahi Jews and Palestinians living across the border from one another in Musrara, a neighborhood straddling West and East Jerusalem. The author rounds out the monograph with a semiotic analysis of contemporary tourism and architectural ventures that are entrenching ethno-national separation in the post-Oslo period. These rhetorical expressions illuminate what it means to be a Jerusalemite in the context of the city’s fraught history. Overlooking the Border examines the social and geographic significance of borders for residents’ sense of self, place, and community, and for representations of the city both locally and abroad. It is certain to be of value to scholars and advanced undergraduate and graduate students of Middle Eastern studies, history, urban ethnography, and Israeli and Jewish studies.
This book highlights the history of Islamic popular devotional art and visual culture in 20th-century India, weaving the personal narrative of the author’s journey through his understanding of the faith. It begins with an introductory exploration of how the basic and universal image of Mecca and Medina may have been imported into Indian popular print culture and what variants it resulted in here. Besides providing a historical context of the pre-print culture of popular Muslim visuality, the book also explores the impact the 1947 Partition of India may have made on the calendar art in South Asia. A significant portion of the book focuses on the contemporary prints of different localised images found in India and what role these play in the users’ lives, especially in the augmentation of their popular faith and cultural practices. The volume also compares the images published in India with some of those available in Pakistan to reflect different socio-political trajectories. Finally, it discusses why such a vibrant visual culture continues to thrive among South Asian Muslims despite the questions raised by the orthodoxy on its legitimacy in Islam, and why images and popular visual cultures are inevitable for popular piety despite the orthodox Muslims’ increasing dissociation from them. This work is one of the first books on Indian Muslim poster art, with rare images and simple narratives, anecdotes about rituals, ceremonies and cultural traditions running parallel to research findings. This second edition contains a new Afterword that discusses challenges to religious plurality arising on account of changing political landscapes, economic liberalisation, technology and new media, and socio-religious developments. It will appeal to the lay reader as well as the specialist and will be especially useful to researchers and scholars in popular culture, media and cultural studies, visual art and performance studies, and sociology and social anthropology.
The Struggle for Jerusalem’s Holy Places investigates the role of architecture and urban identity in relation to the political economy of the city and its wider state context seen through the lens of the holy places. Reflecting the broad disciplinary backgrounds of the authors, this book provides perspectives from architecture, urbanism, and politics, and provides in-depth investigations of historical, ethnographic and policy-related case studies. The research is substantiated by fieldwork carried out in Jerusalem over the past ten years as part of the ESRC Large Grants project ‘Conflict in Cities’. By analysing new dynamics of radicalisation through land seizure, the politicisation of parklands and tourism, the strategic manipulation of archaeological and historical narratives and material culture, and through examination of general appropriation of Jerusalem’s varied rituals, memories and symbolism for factional uses, the book reveals how possibilities of co- existence are seriously threatened in Jerusalem. Shedding new light on the key role played by everyday urban life and its spatial settings for any future political agreements about the city and its religious sites, this book is a useful reference work for students and scholars of Middle East Studies, Architecture, Religion and Urban Studies.
The Grove Encyclopedia of Islamic Art and Architecture is the most comprehensive reference work in this complex and diverse area of art history. Built on the acclaimed scholarship of the Grove Dictionary of Art, this work offers over 1,600 up-to-date entries on Islamic art and architecture ranging from the Middle East to Central and South Asia, Africa, and Europe and spans over a thousand years of history. Recent changes in Islamic art in areas such as Afghanistan, Iran, and Iraq are elucidated here by distinguished scholars. Entries provide in-depth art historical and cultural information about dynasties, art forms, artists, architecture, rulers, monuments, archaeological sites and stylistic developments. In addition, over 500 illustrations of sculpture, mosaic, painting, ceramics, architecture, metalwork and calligraphy illuminate the rich artistic tradition of the Islamic world. With the fundamental understanding that Islamic art is not limited to a particular region, or to a defined period of time, The Grove Encyclopedia of Islamic Art and Architecture offers pathways into Islamic culture through its art.
This collection of essays has been prepared as a tribute to Clive S. Kessler, Professor of Sociology at the University of New South Wales for over twenty years and a member of staff of the London School of Economics and Political Science, University of London, and the Barnard College, Columbia University, New York. Written by colleagues and graduate students, the essays are divided into three sections: Islam, Society and Politics. They focus on Professor Kessler's analyses of Malaysia. Each essay draws on aspects of his published research, taking his insights as points of departure for new studies. Professor Kessler's ideas and observations are thus extended, complemented and updated in ways which emphasize the depth and extent of his influence on contemporary research on Malaysia.
The Hajj is the largest pilgrimage in the world today and a sacred duty for all Muslims. With contributions from renowned experts, this book opens out onto the full sweep of the Hajj: as a sacred path walked by early Islamic devotees, as a sumptuous site of worship under the care of sultans, and as an expression of faith in the modern world.
In 1967, Sir David Khalili finished his military service in Iran and travelled to study in the United States with $750 - his remaining royalties from a book he wrote when he was just 14. Over the course of the next five decades he single-handedly, piece by piece, assembled eight of the finest art collections in their field, ultimately becoming one of the world's greatest collectors, about whom Queen Elizabeth II once said: 'It is scary how much this gentleman knows about art.' For the first time, Sir David shares his extraordinary journey: one that has taken him through the souks of North Africa, the auction houses of Europe and the United States, the bazaars of South Asia, and far beyond. Through a riveting collection of real-life adventures, he reveals his collecting strategy, business ethics and what motivates him to continuously collect, conserve, research, publish and exhibit the treasures in his collections. Through his story, Sir David questions how the undeniable power of art can be harnessed to foster greater peace and unity worldwide. No one is better placed to enlighten us.
