The present volume of studies has evolved from what was originally a fairly modest panel proposal for the 2010 Association of Art Historians annual conference held in Glasgow, seeking to survey the state of the field by inviting papers that dealt with the historiography of scholarship on the art of the pre-modern Islamic world but also accepting presentations of current research that were not primarily concerned with historiography. The very open-ended nature of the original Call for Papers reflects the fact that one of our main aims at that point was simply to address the absence of any dedicated Islamic art history panel at an AAH annual conference since Robert Hillenbrand’s panel at the 2000 conference held in Edinburgh,1 an omission that we saw as unhappily reflecting both the Eurocentrism and modern/contemporary biases of the AAH, and the apparent disinterest of some of the practitioners in our field (particularly, perhaps, in the United Kingdom) towards the critical dialogues taking place in the larger field of art history. We remain grateful for the generous support of Iran Heritage Foundation and the University of Edinburgh, which allowed us to assemble a full AAH panel of Islamic art historians once again. Even after the rather dramatic intervention of the Icelandic volcano lost us two of our speakers to the giant ash-cloud which grounded all flights in the western hemisphere, we did in the end have a panel that included excellent papers on a wide variety of subjects, some of which have gone on to appear in print elsewhere. However, the majority of the papers presented did not deal with historiography per se.
It was at this panel that we were first approached by the editor-in-chief of the Journal of Art Historiography, Richard Woodfield, who invited us to act as guest editors for a special edition of the journal on the historiography of Islamic art...
ISLAMIC ART HISTORIOGRAPHY
Guest edited by Moya Carey (V&A) and Margaret S. Graves (Indiana University)
Introduction
Moya Carey and Margaret S. Graves, ‘Introduction: Historiography of Islamic art and architecture, 2012’ 6-MCG/1
Prologue
Avinoam Shalem, ‘What do we mean when we say “Islamic art”? A plea for a critical rewriting of the history of the arts of Islam’ 6-AS/1
Scholars and showmen
Zeynep Simavi, ‘Mehmet Ağa-Oğlu and the formation of the field of Islamic art in the United States’ 6-ZS/1
Robert Hillenbrand, ‘Oleg Grabar: the scholarly legacy’ 6-RH/1
Yuka Kadoi, ‘Arthur Upham Pope and his “research methods in Muhammadan art”: Persian carpets’ 6-YK/1
Connoisseurs, collectors and consumers
Keelan Overton, ‘A history of Ottoman art history through the private database of Edwin Binney, 3rd’ 6-KO/1
Amanda Phillips, ‘The historiography of Ottoman velvets, 2011-1572: scholars, craftsmen, consumers’ 6-AP/1
Christiane Gruber, ‘Questioning the “classical” in Persian painting: models and problems of definition’ 6-CG/1
The recorded object: collating the canon
Eva Troelenberg, ‘Regarding the exhibition: the Munich exhibition Masterpieces of Muhammadan Art (1910) and its scholarly position’ 6-ET/1
Lara Eggleton, ‘History in the making: the ornament of the Alhambra and the past-facing present’ 6-LE/1
Hussein Keshani, ‘Towards digital Islamic art history’ 6-HK/1
The limits of Islamic art history
Nasser Rabbat, ‘What is Islamic architecture anyway?’ 6-NR/1
Mariam Rosser-Owen, ‘Mediterraneanism: how to incorporate Islamic art into an emerging field’ 6-MRO/1
Margaret S. Graves, ‘Feeling uncomfortable in the nineteenth century’ 6-MSG/1
Wendy Shaw, ‘The Islam in Islamic art history: secularism and public discourse’ 6-WS/1
Translation
Fatima Quraishi, ‘Asar-ul-Sanadid: a nineteenth-century history of Delhi’ 6-FQ/1
Documents
Sheila S. Blair and Jonathan M. Bloom, ‘The Mirage of Islamic Art: Reflections on an Unwieldy Field’, The Art Bulletin, 85(1), 2003. Reproduced by permission of the authors and the College Art Association. 6-SSB/1
Robert Hillenbrand, ‘Studying Islamic Architecture: Challenges and Perspectives’, Architectural History, 46, 2003. Reproduced by permission of the author and the Society of Architectural Historians of Great Britain. 6-RH/2
Finbarr Barry Flood, ‘From the Prophet to Postmodernism? New World Orders and the End of Islamic Art’, in Elizabeth Mansfield, ed., Making Art History: A Changing Discipline and its Institutions, London and New York: Routledge, 2007. Reproduced by permission of the author and publishers. 6-FBF/1
Gülru Necipoğlu, ‘The Concept of Islamic Art: Inherited Discourses and New Approaches’, in Benoît Junod, Georges Khalil, Stefan Weber and Gerhard Wolf, eds, Islamic Art and the Museum, London: Saqi, 2012. Reproduced by permission of the author and publishers. 6-GN/1
Notice
Due to the late approval given by the publishers John Wiley & Sons Ltd., we will not formally be able to include Nasser Rabbat’s article ‘Islamic Architecture as a Field of Historical Enquiry’, AD Architectural Design, 74(6), 2004 in the current journal’s table of contents. It will appear in the ToC for issue 7. We are, however, pleased to be able to make it available to readers in advance of December 2012, with the approval of the author and John Wiley & Sons Ltd. 7-NR/1
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