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The experience of colour in Islamic visual culture has historically been overlooked. In this new approach, Idries Trevathan examines the language of colour in Islamic art and architecture in dialogue with its aesthetic contexts, offering insights into the pre-modern Muslim experience of interpreting colour. The seventeenth-century Shah Mosque in Isfahan, Iran, represents one of the finest examples of colour-use on a grand scale. Here, Trevathan examines the philosophical and mystical traditions that formed the mosque's backdrop. He shows how careful combinations of colour and design…mehr
The experience of colour in Islamic visual culture has historically been overlooked. In this new approach, Idries Trevathan examines the language of colour in Islamic art and architecture in dialogue with its aesthetic contexts, offering insights into the pre-modern Muslim experience of interpreting colour. The seventeenth-century Shah Mosque in Isfahan, Iran, represents one of the finest examples of colour-use on a grand scale. Here, Trevathan examines the philosophical and mystical traditions that formed the mosque's backdrop. He shows how careful combinations of colour and design proportions in Islamic patterns expresses knowledge beyond that experienced in the corporeal world, offering another language with which to know and experience God. Colour thus becomes a spiritual language, calling for a re-consideration of how we read Islamic aesthetics.
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Autorenporträt
Idries Trevathan is a curator and conservator of Islamic art collections. He regularly works on conservation projects and has conducted technical colour studies on a range of Islamic art objects, including the Malay Qur'an manuscripts and Ottoman porticoes in the grand mosque in Mecca.
Inhaltsangabe
INTRODUCTION Scope versus limitations Chapter outline CHAPTER ONE. CONTEXTUAL REVIEW Art Historical Approach Perennialism and the Symbolism of colour Aesthetics and new directions in Islamic art history Summary of Contextual Review CHAPTER TWO. THE WORK OF ART: MASJID-I SHAH Brief Review of Current Conceptions of the Safavid Context The Building Project: Transformation of Isfahan and the Maydan The Building Itself: Masjid-i Shah and Its Decoration The Building: Personalities, the Architects, Engineers and Planners Colour in the Building: Haft Rang (Seven Colours) CHAPTER THREE. COLOUR SYSTEMS Colour in the Qur'an Implicit and Explicit Colours in the Qur'an Qur'an, Colour and Interpretation Colour Theory Colour Mixtures in Contemporary Texts A Value Based Colour System: Recent Scholarship CHAPTER FOUR. THE AESTHETICS OF COLOUR The "Quantitative" Aesthetics of Proportion The "Qualitative" Aesthetics of Light and Colour The Contemplative Gaze Summary and Conclusions CHAPTER FIVE. LIGHT, LUSTRE AND LUMINOSITY Descriptions of Colour and Light: Reception of Materials The Peacock's Plumage and the Colours of Abu Qalamun Pearls, Precious Stones and Light Dark and Light: Marble, Onyx, and Alabaster in Buildings Materials, Light, Colour and Perception Colour, Light and Wonder Creating Sensations of Light Artists, Materials, Wonder and Transformations Summary and conclusion CHAPTER SIX. COLOUR AND THE JOURNEY OF THE MYSTIC Colour Theophany and Emanationism Colour and the Process of Transformation The Kubrawiyya Order and the Hermeneutic of Colour Nizami and the Haft Paykar Summary and conclusion CHAPTER SEVEN. COLOUR AND SPIRITUALITY AT THE TIME OF THE SAFAVIDS Development of the School of Isfahan and the Safavid Understanding of Colour Sheikh Baha'i: Chief Architect of the Masjid-i Shah, Founder of the School of Isfahan The Influence of Suhrawardi and Hikmat al Ishraq Mir Damad and the Revival of Hikmat at the School of Isfahan Mulla Sadra and the 'Imaginal world' "The World of the Imagination" and Art and Colour Artists and the Subtle World Kirmani and a "Phenomenology of Colour" Kirmani and Seven Colours (Haft rang) Summary and conclusion CONCLUSION Masjid-i Shah Revisited Al-Haytham's Visual Perception and the Masjid-i Shah Awe, Colour, Light and Luminosity Colour, Light, Lustre, and Pattern Colour in Operation: The Continuing Process of Perception Reconsidering Materials: Paying Attention to Materials and Associations Depicting the Transcendent: 'alam al-Mithal Methodology Areas for Further Development Final Thoughts BIBLIOGRAPHY
INTRODUCTION Scope versus limitations Chapter outline CHAPTER ONE. CONTEXTUAL REVIEW Art Historical Approach Perennialism and the Symbolism of colour Aesthetics and new directions in Islamic art history Summary of Contextual Review CHAPTER TWO. THE WORK OF ART: MASJID-I SHAH Brief Review of Current Conceptions of the Safavid Context The Building Project: Transformation of Isfahan and the Maydan The Building Itself: Masjid-i Shah and Its Decoration The Building: Personalities, the Architects, Engineers and Planners Colour in the Building: Haft Rang (Seven Colours) CHAPTER THREE. COLOUR SYSTEMS Colour in the Qur'an Implicit and Explicit Colours in the Qur'an Qur'an, Colour and Interpretation Colour Theory Colour Mixtures in Contemporary Texts A Value Based Colour System: Recent Scholarship CHAPTER FOUR. THE AESTHETICS OF COLOUR The "Quantitative" Aesthetics of Proportion The "Qualitative" Aesthetics of Light and Colour The Contemplative Gaze Summary and Conclusions CHAPTER FIVE. LIGHT, LUSTRE AND LUMINOSITY Descriptions of Colour and Light: Reception of Materials The Peacock's Plumage and the Colours of Abu Qalamun Pearls, Precious Stones and Light Dark and Light: Marble, Onyx, and Alabaster in Buildings Materials, Light, Colour and Perception Colour, Light and Wonder Creating Sensations of Light Artists, Materials, Wonder and Transformations Summary and conclusion CHAPTER SIX. COLOUR AND THE JOURNEY OF THE MYSTIC Colour Theophany and Emanationism Colour and the Process of Transformation The Kubrawiyya Order and the Hermeneutic of Colour Nizami and the Haft Paykar Summary and conclusion CHAPTER SEVEN. COLOUR AND SPIRITUALITY AT THE TIME OF THE SAFAVIDS Development of the School of Isfahan and the Safavid Understanding of Colour Sheikh Baha'i: Chief Architect of the Masjid-i Shah, Founder of the School of Isfahan The Influence of Suhrawardi and Hikmat al Ishraq Mir Damad and the Revival of Hikmat at the School of Isfahan Mulla Sadra and the 'Imaginal world' "The World of the Imagination" and Art and Colour Artists and the Subtle World Kirmani and a "Phenomenology of Colour" Kirmani and Seven Colours (Haft rang) Summary and conclusion CONCLUSION Masjid-i Shah Revisited Al-Haytham's Visual Perception and the Masjid-i Shah Awe, Colour, Light and Luminosity Colour, Light, Lustre, and Pattern Colour in Operation: The Continuing Process of Perception Reconsidering Materials: Paying Attention to Materials and Associations Depicting the Transcendent: 'alam al-Mithal Methodology Areas for Further Development Final Thoughts BIBLIOGRAPHY
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