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22.1 Early Religious Structures 22.1 Early Religious Structures
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22.2 The Ornaments of Religion 22.2 The Ornaments of Religion
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22.3 Aniconism and the Image 22.3 Aniconism and the Image
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22.4 Conclusions 22.4 Conclusions
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Notes Notes
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References and Suggested Reading References and Suggested Reading
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22 Islam and Visual Art
Get accessMargaret S. Graves is Assistant Professor of Islamic art and architecture at Indiana University, Bloomington. She received her Ph.D. from the University of Edinburgh in 2010 for her thesis on miniature architectural forms in the art of the medieval Islamic world, and has published articles in a number of peer-reviewed journals, edited volumes and exhibition catalogues on subjects ranging from the plastic arts of medieval Iran to the disciplinary discomfort with nineteenth-century Islamic art. Most recently she co-edited a special issue of the Journal of Art Historiography on the historiography of Islamic art (June 2012) and edited Islamic Art, Architecture and Material Culture: New Perspectives.
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Published:03 February 2014
Cite
Abstract
The label “Islamic art” has at times served to conflate and confuse religious and non-religious impulses within popular understandings of the art of the lands that are now or have historically been majority Muslim. A selection of the manifold visual expressions that relate directly to the practices of faith and religious identity in Islam are here explored, using premodern examples to explore three different themes. The first of these presents the structural form and decoration of some of the earliest mosques and other major religious structures of the Islamic world. The second section considers the role of ornament, including calligraphic practices, in the elaboration and diversification of a religious visual identity, while the third examines the most widely misunderstood aspect of Islamic art—the purported universal aniconism of Muslim cultures—through the small extant corpus of book paintings of religious figures, particularly the Prophet Muhammad.
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