The author shares not only a veteran art historian's love for the sensuality of Islamic ornamentation, but also uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period. Based on universal motifs, ornamentation occurs in many artistic traditions, although it seems to reach its most expressive, tangible, and unique from recently discovered frontispieces in Yemen to tilework in the Alhambra. The text compares these works to Western examples, treating all pieces as testimony of the work, life, thought and emotion experienced in one society. From this discussion, ornament emerges as a consistent intermediary between viewers and artistic works throughout time. Grabar defines ornaments as agents that are not logically necessary to the perception of a visual message but without which the process of understanding would be more difficult - they in fact often draw us into a work by strengthening the pleasure derived from looking at it. A major portion of this book explores four particularly influential forces on the development of ornament: writing (calligraphy), geometry, architecture and nature.
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"It is impossible to approach this profoundly stimulating book by Oleg Grabar without reflecting on the strange twists of fate that the discourse of ornament has undergone in the last two centuries.... Oleg Grabar takes up anew the challenge of using ornament to broach artistic questions." --Margaret Olin, The Art Bulletin
"This is writing that not only rewards but requires rereading.... If The Formation of Islamic Art was the most provocative and generously conceived book on its subject in the '70s, The Mediation of Ornament, with its expanded frame of reference and sense of personal urgency, may well assume that status for the '90s." --Holland Cotter, Art in America
"[Grabar's] book, written with a kindly wit and a keen intelligence, is beautifully illustrated, and itself illustrates the role of ornament in the world." --Bostonia
"Grabar seeks to understand the transmission of meaning from visual form to interpretation: what is it that mediates between the physical object and a viewer's understanding? He postulates that in Islamic art it is writing, geometry and (images of) architecture and nature, which together constitute ornament. . . . [This] is an honest statement of one scholar's personal intellectual journey. . . . Grabar's notes address intellectual issues and often summarize the history of interpretation of key monuments." --Mesa Bulletin
"An admirable treatise ... it offers its readers an exemplary interplay of art history and aesthetics. One receives a beautifully illustrated introduction to Islamic art, and each work earns its presence by serving to bring a theoretical issue to life. This is cross-fertilization at its very best." --Journal of Aesthetics and Art
|List of Illustrations|
|Ch. I||A Theory of Intermediaries in Art||9|
|Ch. II||The Intermediary of Writing||47|
|Ch. III||The Intermediary of Geometry||119|
|Ch. IV||The Intermediary of Architecture||155|
|Ch. V||The Intermediary of Nature||195|
|Conclusion: Some Implications||226|
Le informazioni nella sezione "Su questo libro" possono far riferimento a edizioni diverse di questo titolo.
Descrizione libro Princeton University Press, 1995. Paperback. Condizione libro: New. Codice libro della libreria P110691001561
Descrizione libro Bollingen, 1995. Paperback. Condizione libro: New. Codice libro della libreria DADAX0691001561
Descrizione libro Princeton University Press, 1992. brossura. Condizione libro: nuovo. Formato: 19 x 25.5 x 3 cm, Pagine: 284. New. Mint Copy. Col and b/w Ill. The A.W. Mellon Lectures in the Fine Arts, 1989. Bollingen Series XXXV: 38., Ill. bn: --, Ill. colori: --, Peso: 1070 gr. Codice libro della libreria 10487-C26