Sheila S. Blair's groundbreaking book is the first reference work on calligraphy, or the art of beautiful writing, in Arabic script. Calligraphy was one of the main methods of artistic expression from the seventh century to the present from the Islamic West to India and beyond. Using over 250 color and black and white illustrations, Blair explains Arabic calligraphy to modern readers, showing how to identify, understand, and appreciate its varied styles and modes. Her 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.

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Product Description

Sheila S. Blair's groundbreaking book is the first reference work on calligraphy, or the art of beautiful writing, in Arabic script. Calligraphy was one of the main methods of artistic expression from the seventh century to the present from the Islamic West to India and beyond. Using over 250 color and black and white illustrations, Blair explains Arabic calligraphy to modern readers, showing how to identify, understand, and appreciate its varied styles and modes. Her 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. She also tells the reader what to look for in determining both style and quality of script. This beautiful new book is an ideal reference for anyone with an interest in Islamic art.

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Product Details

• Amazon Sales Rank: #1183854 in Books
• Published on: 2008-09-15
• Released on: 2008-09-15
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 736 pages

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 volumeÂ… Sheila Blair is a recognized and highly-regarded expert in the field." -- Professor W. M. Thackston, Harvard University

About the Author

Sheila S. Blair is the Norma Jean Calderwood University Professor of Islamic and Asian Art at Boston College. She is the world's leading expert on Islamic calligraphy.

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Customer Reviews

An essential key to understanding Islamic arts and civilization
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

contents of this book
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