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Description du livre Hardcover. Etat : New. Etat de la jaquette : New. 1st Edition. Understanding and appreciating Islamic art The term "Islamic" could lead one to believe that this art only has religious purposes; but a large part of his production is secular. It is Islamic because its vocabulary is partially anchored in the philosophical thought of Islam shared by a group of nations adhering to this faith; it is not about the art of a single country or a single civilization. We have said the importance taken by calligraphy, as a means of transmitting the Koranic text, which we encounter on all scales and all supports. We underlined the permanent use in the decorative repertoire of the foliage, the arabesque and the interlacing. We insisted on the repugnance towards the figurative representation of men and animals, while the hadîth (the tradition of the Prophet) only condemns it in a religious context, manuscripts of the Koran and mosques. The art of the Islamic era was forged from the 7th century (the year 622 was that of the Hegira during which the prophet Muhammad left Mecca to settle in Medina; two centuries after his death in 632, the Islam spread to Spain in the west and Afghanistan and northern India to the east). First under the influence of the Byzantine traditions of the West and the Sassanid traditions of the East, it asserted itself from the 8th century with the advent of the Abbasid dynasty which reigned over a vast empire from Baghdad, its capital. The breakdown of power, notably under the pressure of the Turks and Mongols, will give rise to varied styles from the 13th century until today, Islamic art lasting beyond the dawn of the 19th century, unlike a Received idea. It is from the fabulous collection of Islamic art of Nasser D. Khalili that the exhibition itinerary offers three distinct entities, each with its particular atmosphere. "Faith, Wisdom and Destiny" testifies to the relationship between art and the sacred; "The workshop of patrons: caliphs, emirs, khans and sultans" reports on the development of court arts which developed fashions of appearance and incidentally served as models for civil society; "A universe of shapes and colors" explores the abundance of creation for the satisfaction of the senses, like a foretaste of paradise. The collection of Nasser D. Khalili Gathered from the 1970s, the collection of Islamic art of Nasser D. Khalili today includes some 20,000 objects, often masterpieces, which bear witness to artistic production in the Muslim countries from the 7th to the 20th century. This is the most complete private collection in the world in this field. Its founder firmly believes that a detailed knowledge of this art is the key to understanding the cultures of Islam which, depending on the era, have prevailed from Spain to China. By making his collection accessible to the widest possible public, he goes beyond the personal pleasure of the quest for objects and their scientific study to make it a means of combating intolerance. By its origins, its ambition is also to promote appeasement and mutual understanding between Jews and Muslims; he is also co-founder and president of the Maimonides Foundation which works in this direction. Extensively studied and published, the collection does not yet have a permanent presentation location. Hence the idea of the roaming of a selection of 471 pieces manuscripts, hangings and carpets, ceramics and glass, metals and goldwork, jewelry and lacquer, woodwork and hard stones which show and explain what is Islamic art. After Australia and the United Arab Emirates, its presentation at the Arab World Institute is a first in Europe. Keywords: Islam, Baghdad, Iran, China, Spain, Abbasids. N° de réf. du vendeur ABE-1714219454563