About the Author

Oleg Grabar is Professor Emeritus of the School of Historical Studies at the Institute for Advanced Study, Princeton, and Marilyn Jenkins-Madina is Research Curator of Islamic Art at The Metropolitan Museum of Art, New York. They were both long-time colleagues of Richard Ettinghausen, who was professor of Islamic Art at the Institute of Fine Arts, New York University, and Consultative Chairman of Islamic Art at The Metropolitan Museum of Art until his death in 1979.

Reviews

"Including all media, and the entire territory from Spain to Central Asia, this book is the indispensable point of departure for the study of early Islamic art." Choice "This is the second edition of what is probably the standard reference work on Islamic art and architecture... It is difficult to do justice to this magnificent volume in a short review. It is an authoritative, highly readable, and beautifully produced work that should please specialists and educated readers alike." Library Journal

"Including all media, and the entire territory from Spain to Central Asia, this book is the indispensable point of departure for the study of early Islamic art." Choice "This is the second edition of what is probably the standard reference work on Islamic art and architecture... It is difficult to do justice to this magnificent volume in a short review. It is an authoritative, highly readable, and beautifully produced work that should please specialists and educated readers alike." Library Journal

This is the second edition of what is probably the standard reference work on Islamic art and architecture, originally written by two of the most eminent scholars in the field and published in the "Pelican" series as The Art and Architecture of Islam, 650-1250. Owing to Ettinghausen's untimely death, the sections on art were reorganized and rewritten by Marilyn Jenkins-Madina, research curator of Islamic art at New York City's Metropolitan Museum of Art. Oleg Grabar rewrote his chapters on Islamic architecture. This edition divides the period into two sections: Early Islamic art, c.650 to c.1000, and Medieval Islamic art, c.1000 to c.1250. Within these divisions, there are three geographic subdivisions Central, Eastern, and Western which are further subdivided into the categories of architecture and architectural decoration, art of the object (as opposed to decorative arts), and art of the book. In the later period, there are some interesting sections on Saljuqs, Artuqids, Zangids, and Ayyubids in Iraq, Anatolia, Syria, Palestine, and Egypt. It is difficult to do justice to this magnificent volume in a short review. It is an authoritative, highly readable, and beautifully produced work that should please specialists and educated readers alike. The photographs are plentiful and clearly reproduced, and many architectural drawings and plans illuminate the topic under discussion. The bibliography and index to the bibliography are very helpful, and notes appear at the end of the book. Highly recommended for academic and larger public libraries. Martin Chasin, Adult Inst., Bridgeport, CT Copyright 2002 Cahners Business Information.