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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 367"
COURSE NAME: "Special Topics in Medieval Art: Islamic Art"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Sharon Salvadori
EMAIL: [email protected]
HOURS: MW 11:30 AM 12:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor
OFFICE HOURS:

COURSE DESCRIPTION:
Specialized courses offered periodically on specific aspects of the art of the medieval world. Courses are normally research-led topics on an area of current academic concern. May be taken more than once for credit with different topics.
SUMMARY OF COURSE CONTENT:

Cities, palaces and luxury arts in Medieval Islam

The seminar investigates Islamic religious and secular architecture, architectural decoration, and luxury artworks produced in the Middle East and western Mediterranean in the early and central Middle Ages (7th-12th centuries). A main focus is the patronage and reception of Islamic art and architecture produced in cities, palaces and other elite residences in the formative centuries of Islamic visual culture.

Late antique cities in the Byzantine and Sasanian empires, as well as in bordering regions ruled by Arabs and other ethnic groups, had evolved from a tradition of urbanism that been a consolidated reality in the Middle East and the Mediterranean for almost two millennia. The phenomenal rise and establishment of Islamic civilization in three continents- Asia, Africa and Europe- both grew from and transformed this urban landscape. New building types -such as mosques, to name the most obvious- contributed to a new urban topography and architecture, even while they drew on existing architectural and decorative idioms. But even building types with a long history, such as public baths, were reinterpreted by the architects and patrons of Islamic medieval cities.
Islamic palace-cities, palaces, and country and desert estates may be understood in similar terms: elements of the architecture and decor of late Antique villas and palaces with their courts, audience halls, bath houses, fountains, gardens lavishly decorated with marble, mosaic, paintings and stucco, as well as administrative and production areas were both appropriated and transformed by Islamic rulers and thereby contributed a new chapter in the history of elite housing. Finally, medieval Islamic urban centers and palace-cities were often the centers for the production of the finest quality ceramics, carved wood and ivories, metalwork, rock crystal, glass, and embroidered and woven textiles. Again, the style and imagery of these art objects selectively assimilated and reinterpreted contemporary visual traditions and thereby created new and distinctly Islamic visual idioms. 

Islamic visual culture was mostly intended for internal consumption, but its idioms and Islamic artifacts themselves (luxury items in particular) were exported far and wide and deeply affected the visual culture of the Medieval world as a whole, from Byzantine Empire in the East to Holy Roman Empire in the West. It is by no means an exaggeration to say that the visual cultue of the Medieval world may not be understood without reference to Islamic visual culture.

LEARNING OUTCOMES:

Ø  knowledge and understanding of the design, structure, style, function, intended meaning and reception (political, religious, social and aesthetic) of representative Medieval Islamic capitals, holy cities, palace-cities, country and desert palaces, and other elite residences

Ø  knowledge and understanding of the main features and main functions of key building types (e.g. mosques)

Ø  knowledge and understanding of the design, structure, style, function, intended meaning and reception (political, religious, social and aesthetic) of important individual monuments and their decoration (relief sculpture in stone, stucco and wood, mosaic, fresco, ceramic, etc.)

Ø  knowledge and understanding of the media, production techniques, function, stylistic and iconographic features, intended meaning and reception (political, religious, social and aesthetic) of art objects (ceramics, wood and ivory carving, glass and rock crystal, metalwork, and textiles) produced in key medieval Islamic centers (as above)

Ø  the characteristics of medieval Islamic “courtly” culture as these are revealed by art, architecture, ritual and ceremony

Ø  the impact and relationship of the Byzantine and Sasanian visual traditions in medieval Islamic art and architecture

Ø  the regional variants and differences of medieval Islamic art and architecture in the course of the Middle Ages (7th to 13th centuries)

Ø   the relationship of Islamic visual culture and the Byzantine and Western medieval traditions

Ø  familiarity with different methods of art historical analysis and terminology and the ability to deploy them successfully

Ø   skills for the critical analysis of visual culture and the ability to apply critical thinking and analysis generally

Ø  ability to select and organize material to produce a coherent and cogent argument both orally and in writing- and to do so to so respecting deadlines

Ø  ability to exchange ideas and engage in discussion with peers

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Islamic Art and Architecture, 650-1250Ettinghausen, R. Grabar, O. and Jenkins-Madina, J.Yale University Press978030008869-4     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
PARTICIPATIONActive participation is expected of all students, but the level or amount of your engagement is graded. Participating means coming to class having read the "Required Reading" (listed in the course schedule), prepared to ask and answer questions and to share any pertinent observations. Participation is especially important in the context of a seminar as students are expected to be fully engaged with the material and so responsive to it. Remember too that the more you participate, the more interesting the class will be not only for you but also for everyone else, me included. 5% of course grade
   
BIBLIOGRAPHICAL ESSAYS 4 bibliographical essays are due in the course of the semester. Each is worth 10% of the course grade. Each essay consists in a critical review and evaluation of a scholarly article and should be between 1000 and 1500 words (3-5 pages). The essays are intended to familiarize students not only with specific areas, monuments, artworks, or object types in more depth, but to come to terms with how scholars approach the evidence and its interpretation. Students will typically be given a have a choice of two or more articles to review; students may request the permission to focus on a different publication, especially if, in addition to the general topic, it is relevant to their term paper. Additional Guidelines and specifications, including titles, will be provided and discussed in class during the second week of the term, but dues dates and the general topics are already listed in the Course Schedule. Please also note that students will be expected to discuss the publication in class on the same day that the essays are due. In other words the assignment is designed to stimulate class discussion. 40%
ORAL PRESENTATIONThe presentation consists of a 15 minute oral report to the class on an area, one or more monuments or one or more artworks. It is intended to develop your skills in research, observation, interpretation, evaluation and public speaking. Developing the ability to express yourself orally in a clear, concise and effective manner is as important as the content of the presentation (content without form undermines content itself...). Topics -with bibliography for each- dates, and guidelines will be posted on MY JCU in the first few weeks of the term. We will review these during class 12. But all presentations will take place in last few weeks of the semester. In some cases the topics are intended to focus in more depth on key monuments already presented in class. In other cases the topics are on monuments or artworks that we have not examined or have examined only very briefly and which warrant more attention. The key aim in every case is to critically engage with at least one scholarly interpretation on your topic. For each topic one source will already be selected for you and it is mandatory to read and present on it, but you are - of course- welcome to do further research. Please choose your topic carefully as it ideally should be a preliminary research project leading to the topic of your Term paper (see below). A sign-up sheet will be provided during class 13 (more or less mid-term week). 15%
TERM PAPERPaper abstract (c. 150 words) with preliminary bibliography (minimum 5 titles) due class 17 Paper: 4500 words (c. 15 pages; exclusive of bibliography) due class 28 (last day of class). Early Abstracts and Papers welcome. The term paper is intended to develop skills of independent research, ability to evaluate and interpret materials and their inherent interests, and capability for discussing these in a nuanced manner in writing. It must combine visual analysis, iconographic and historical research and contextual interpretation. In other words, it should be a formal essay that demonstrates the skills that you have developed and honed during the semester. Ideally the topic of the paper should be related to the topic of your oral presentation. For example: if your presentation was on the meaning of the decoration of the hammam (bath complex) at the Ummayad palace of Khirbat al- Mafjar, your term paper could focus on hammams in Ummayad palaces in the Middle East and/or Spain or on the hammam in medieval Islamic cities and palaces as a whole. The paper must include a complete bibliography of primary and secondary sources (no less than 5) and all references must be fully cited in the paper itself. The paper abstract is essentially a thesis statement. This must be accompanied by the preliminary bibliography and – ideally- accompanying images. It is not graded, but failing to turn will result in losing a quarter grade on your paper (e.g. a B+ becomes B). We will be discussing the Abstract and Term Paper in class in more detail during class 15. It would be useful to have at least a general idea (period, types of monument or art works) of your topic by then. Please feel free to set up an appointment to discuss your paper any time before then. 25%
FINAL EXAMThe final exam- to be scheduled during exam week- is structured to assess students’ knowledge of essential facts about monuments and their cultural and historical significance. It is cumulative and based on lectures and reading assignments. It consists in: -4 slide comparisons 15 minutes each (1 hr. total), worth 40% of the exam grade. One or more images of two sites, monuments or artworks will be shown to you. You must identify them (name, typology, date, media, original location, function, and patronage must be specified as known or relevant). However, the primary aim is to consider the two in relation to one another, i.e. discuss significant similarities and differences (often structural or formal components, location, function, meaning and patronage). -2 essays 30 minutes, each is worth 30% of the exam grade. 3 essay questions accompanied by images of sites and/or monuments will be posted on MYJCU two weeks prior to the exam. Two of them will be on the exam (but material from the other will undoubtedly show up in the identifications and comparisons...so study for all three). 20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cour
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
Students are expected to attend all classes. Lectures and in-class discussion often do more than simply complement required reading assignments and being absent inevitably results in extra work to catch up.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE



CB= Course Bibliography; this is followed by the title of the sub-section in the bibliography- e.g. Umayyad Middle East- and then the titles of individual publications in abbreviated form (full citations in CB); ArchNet is a scholarly web site on Islamic Architecture

1. Introduction

Øaims of course
Ø
course logistics: syllabus, course texts, assignments, ArchNet
Ø
historical and thematic overview
Ø
definitions of Islamic art and architecture

Suggested Reading:CB:  Islamic A & A, History and Culture general: Grabar (1976): art of object; Blair and Bloom (2003): state of the question; Rabbat (2012): Islamic architecture state of the question


2.  Arabia in the time of Mohammed:  
Intro. to Islam, Mohammed, the Qu'ran, belief and practice, Mecca, the Ka’ba, Medina, the house of the prophet, and the mosque

 Required Reading: •Please re-read syllabus carefully; questions welcome •Ettinghausen et. al: Chapter 1, pp.2-8 and Chapter 2, 21-23 •CB Islamic A & A, History and Culture general: Hillenbrand (1985): the medieval mosque

Suggested Reading:ArchNet: Mecca, Ka’ba, Medina, Hajj routes CB Islamic A & A, History, Culture general: Bloom (1991): origins of minaret; Frishman and Al-Asad (1994): mosques: browse for pictures; Grabar, O. (1969): Mosque and Middle Eastern cities 


3. Arabia in the time of Mohammed,
cont.

Required Reading: See previous class
Suggested Reading: See previous class

7thcentury garrison towns: Kufa, Basra, Fustat, Kairoruan

Required Reading: •Ettinghausen et. al, Chapter 2, 21-23

Suggested Reading:ArchNet: Kufa, Masjid al-Kufa (Kufa), Dar al-'Imara (Kufa), Basra, Fustat, 'Amr, Mosque of and Jami' 'Amr ibn al-'As (Fustat), QairawanCB Islamic A & A, History, Culture general: Behrens-Abouseif (1989), pp. 47-50: mosque of ‘Amr in Fustat; Loseby (2009): Mediterranean cities in Late Antiquity


4. Late Antique Visual Culture:
The Roman and Sasanian empires: “the two eyes of the earth”

Required Reading:CB: Late Antique A & A, History, Culture: Bowersock (1990): Hellenism in Islam and Gonosová (2000): lure of Sasanian

Suggested Reading: •ArchNet:  Byzantine and Sasanian [to see sites from these periods, perform a search in the Research tab of Archnet, selecting the style name from the “Style/period” filter list]CB Late Antique A & A, History, Culture: Bier (1993): Sasanian palaces impact on Islam; Curcic (1993): Late Antique palaces and urban context; Drijvers (2009) Rome and Sasanid Empire; Elsner (1998): issues of style; King: Islam and iconoclasm; Marsham (2009): caliphate and Late Antiquity; Papaioannou (2009): “Byzantine” Late Antiquity CB Islamic A & A, History and Culture general: Dodd (1969); Maguire (1993): art of court


5. Late Antique Visual Culture:
The Roman and Sasanian empires: “the two eyes of the earth, cont”

Required Reading: See previous class
Suggested Reading: See previous class


6. The Caliph and God: Umayyad Jerusalem and Damascus

Required Reading:
•Ettinghausen et. al Prologue Part I: "Historical ad Cultural Setting" (bkgrd), Chapter 2, pp. 15-29, 59-62 (architectural decoration)

Suggested Reading:ArchNet: Building Styles: Umayyad, Dome of the Rock, Jerusalem Great Mosque of Damascus, Syria  CB Umayyad Middle East: Brisch (1988): mosaics Great Mosque D.; Grabar (1959): D of the Rock; Grabar (1996), pp. 21-51: formation Islamic Jerusalem, pp. 52-116: D of the Rock, pp. 117-134 Jerusalem Haram and its monuments; Grabar (2006): D of the Rock- browse for pictures; Rabbat (1989): D of the Rock; Grafman and Rosen-Ayalon (1999): Umayyad Al-Aqsa mosque and Great Mosque D. •CB Late Antique A & A, History, Culture: Marsham (2009): caliphate and Late Antiquity CB Islamic A & A, history and culture general:  Bloom (1991): origin of minaret; Dodd (1969): image of the word; Grabar, O. (2001): Art & Architecture and Qur'an; Schimmel and Rivolta (1992): art of calligraphy

7. The Caliph and God: Umayyad Jerusalem and Damascus, cont.

Required Reading: See previous class
Suggested Reading: See previous class

*Bibliographical Essay 1 due:  Umayyad Religious Architecture and the City
 

8. Power and Leisure: Umayyad “desert” palaces and retreats

Required Reading: •Ettinghausen et. al Chapter 2, pp. 36-51 and 59-62 (architectural decoration)

Suggested Reading:ArchNet: Qasr al-Hayr al-Sharqi (aka Qasr al-Hayr East) Syria; Qasr al-Kharana, El Azraq , Jordan; Khirbat al-Mafjar, Palestine, Qasr al-Mshatta, (aka Mshatta or Mushatta), Jordan, Qasr al-Hayr al-Gharbi (aka Qasr al-Hayr West), Syria, Qusayr 'Amra, Jordan, Al-Anjar, Lebanon •CB Umayyad Middle East: Bacharach (1996) patronage; Grabar (1993): palaces; Hillenbrand (1982): Dolce Vita and palaces •CB Late Antique A & A, History, Culture: Marsham (2009): caliphate and Late Antiquity CB Islamic A & A, History and Culture general: Golombek (1988) use of textiles; Grabar (1987), pp. 133-169: art of court; Maguire (1993): art of court; Necipologu (1993): Islamic palaces


9. Power and Leisure:
Umayyad “desert” palaces and retreats, cont.

Required Reading: See previous class
Suggested Reading: See previous class
 

* Bibliographical Essay 2 Due: Umayyad “desert” palaces and retreats


10. Abbasid Caliphs:
Palace-Cities and Mosques, c. 750-850

Required Reading:•Ettinghausen et. al Prologue Part I: "Historical ad Cultural Setting" (bkgrd) and Chapter 2, pp. 28-31 and 51-59

Suggested Reading: •ArchNet Abbasid (in time line); Al-Mansurs Round City, Baghdad; Jawsaq al-Khaqani Palace, Samarra; Great Mosque of al-Mutawakkil, Samarra; Mosque of Abu Dulaf, Samarra; Ziyada; Qubba al-Sulaibiyya, Samarra;
CB Abbasid: Northedge (1981) and (1993): Samarra; Haase (2007): Abbasid stucco decoration •CB Islamic A & A, History and Culture general: Bloom (1991): origin of minaret; Bloom (1993): domes and iconography of height;
Golombek (1988) use of textiles; Grabar (1987), pp. 133-169: art of court; Maguire (1993): art of court


11. Abbasid Caliphs:
Palace-Cities and Mosques, c. 750-850, cont.

Required Reading: See previous class
Suggested Reading: See previous class


12. Abbasid Emirs, Power, Religion and Architecture, 9th–11th centuries
: al-Fustat, Kairouan and Eastern Islamic lands

Required Reading: •Ettinghausen et. al, 30-36 and 104-116

Suggested Reading:CB Islamic A & A, History and Culture general: Behrens-Abouseif (1989), pp.51-57: Ibn Tulun Mosque

Discussion of presentation- please come having read guidelines


13. Abbasid Emirs, Power, Religion and Architecture, 9th–11th centuries: al-Fustat, Kairouan and Eastern Islamic lands, cont.

Required Reading: See previous class
Suggested Reading: See previous class

SIGN-UP FOR PRESENTATION


14. The Art of the Object: Umayyad and Abbasid

Required Reading: •Ettinghausen et. al 65-79 and 117-130

Suggested Reading:CB Islamic A & A, History and Culture general: Golombek (1988) use of textiles; Grabar (1987), pp. 133-169: art of court; Grube (1965), pp. 209-215: Abbasid pottery; Jenkins (1983), pp. 1-12: pottery 7th-10th century; Jenkins (1986): glass 7th-10th century; Maguire (1993): art of court; Schimmel and Rivolta (1992): art of calligraphy CB Islamic East: Allan (1988)

15. The Art of the Object: Umayyad and Abbasid, cont.

Required Reading: See previous class
Suggested Reading: See previous class

Discussion of Term paper- please come having read guidelines

 

16. Umayyad cities and palace-cities in of Al-Andalus: Cordoba and Madinat- al Zhara

Required Reading: •Ettinghausen et. al Prologue Part I: "Historical ad Cultural Setting" (bkgrd) and Chapter 3, pp. 80-91

Suggested Reading:CB: Islamic West: Al Andalus (1992), cat. #s 34-40: sculpted architectural elements; Art of Medieval Spain (1993), cat. #s 30-33, 35, 36: sculpted architectural elements; Dodds (1993): Islam Christianity and problem of religious Art; Grabar (1992): intro first 4 centuries Islamic Spain; Jenkins (1993) Al-Andalus: Crucible of Mediterranean; Khoury, N.N. (1993): Great Mosque Cordova meaning; Vallejo Triano (1992): Madinat al-Zahrāand caliphal power
 

 

17. Umayyad cities and palace-cities in of Al-Andalus: Cordoba and Madinat- al Zhara, cont.

Required Reading: See previous class
Suggested Reading: See previous class

TERM PAPER ABSTRACT DUE
 

18. Luxury objects of Al Andalus: 10th and 11th centuries

Required Reading: •Ettinghausen et. al Chapter 3, pp. 91-101 •CB Islamic West: Holod (1992): Luxury Arts Caliphal Period

Suggested Reading:CB Islamic West: Al Andalus (1992), cat. #s 1-7, 9,10, 12-16, 20-33, 43 and 49: ivories, metalwork, textiles, ceramics, and carved stone basins; Art of Medieval Spain (1993), cat. #s 34, 38a-53: carved stone basins, ivory, metalwork and ceramics; Dodds (1993): Islam Christianity and problem of religious Art; Grabar (1992): intro first 4 centuries Islamic Spain; Holod (1992): Luxury Arts Caliphal Period; Jenkins (1993) Al-Andalus: Crucible of Mediterranean; Rosseló Bordoy, G. (1992) Ceramics; Prado-Vilar (1997): interpretation of the pyxis of al-Mughira CB Islamic A & A, History and Culture general: Golombek (1988) use of textiles; Grabar (1987), pp. 133-169: art of court; Maguire (1993): art of court; Schimmel and Rivolta (1992): art of calligraphy


19. Luxury objects of Al Andalus: 10th and 11th centuries, cont.

Required Reading: See previous class
Suggested Reading: See previous class

 Bibliographical Essay 3 Due: luxury arts of Al-Andalus

  

20.  The Victorious Caliphate, the Sh’ia Empire of the Fatimids, 910-1171: Architecture of cities and mosques

 Required Reading: •Ettinghausen et. al Prologue Part II: "Historical ad Cultural Setting" (bkgrd) and Ch. 6, pp. 184-200

Suggested Reading:CB Fatimid: Behrens-Abouseif (1989), pp. 58-77: Fatimid architecture; Bloom (1983): mosque of al-Hakim; Bloom, J. (2008): Fatimid Cairo; Grabar (1999): Shi’a element Fatimid art; Williams (1983): 37-52: cult of Alid saints and Mosque of al-Aqmar

 

21. The Victorious Caliphate, the Sh’ia Empire of the Fatimids, 910-1171: Architecture of cities and mosques, cont.

Required Reading: See previous class
Suggested Reading: See previous class

**Bibliographical Essay 4 Due: Fatimid mosques



22. The Victorious Caliphate, the Sh’ia Empire of the Fatimids, 910-1171: The Art of the Object

Required Reading: •Ettinghausen et. al, Ch. 6, pp. 200-215

Suggested Reading:CB Fatimid: Bloom (1985): origins Fatimid art; Bloom, J. (2008): Fatimid Cairo; Ettinghausen (1942): Fatimid painting; Grabar (1969): subject matter Fatimid art; Grabar (1977): Fatimid art in context of Islamic art; Jenkins, M. (1968): Fatimid pottery •CB Islamic A & A, History and Culture general: Behrens-Abouseif (1989), Ch. 5: Fatimid Cairo; Golombek (1988) use of textiles

 

23. The Victorious Caliphate, the Sh’ia Empire of the Fatimids, 910-1171: The Art of the Object, cont.

Required Reading: See previous class
Suggested Reading: See previous class

 

24. PRESENTATIONS

 

25. PRESENTATIONS


26.
(potentially) The Rise of Turkish Power, the Great Saljuks and their successors: Architecture overview: Eastern Islamic lands, Syria, Egypt, Iraq, Anatolia

Required Reading: •Ettinghausen et. al, Prologue Part II, Ch. 5, 138-165 and Ch.6 215-243


27. (potentially) The Rise of Turkish Power, the Great Saljuks and their successors: Architecture overview: Eastern Islamic lands, Syria, Egypt, Iraq, Anatolia, cont. / The Art of the Object

Required Reading: •Ettinghausen et. al, Prologue Part II, Ch. 5, 138-165-180 and Ch.6 215-243-257

 

28. LOOSE ENDS / REVIEW FOR FINAL

**********TERM PAPER DUE************