Thames & Hudson Arts Crafts of the Islamic Lands: Principles • Materials • Practice

Arts and Crafts of Islamic Lands is a beautiful coffee table book intended to showcase the Islamic arts, the Prince's School of Traditional Arts, and the high quality of the School's excellent teachers. In addition to being a beautiful book, it also contains much substantial information that is well worth studying by artists who wish to develop a better technical understanding of how traditional Islamic artists designed and create their work. A third of the book is taken up with a monograph by Paul Marchant and Jonathan Horning on the geometry that underlies Islamic art.I found Adam Williamson's contribution on Islimi (arabesques) to be particularly helpful, and I wish that section had been longer than it was. Williamson wrote a very systematic and clear presentation of the subject, which was a model of helpfulness. Also, unlike the contributions by many of the other teachers to this book, he avoided any hint of pitching Islam to the Unbelievers.In many of the essays that constitute this book, Islamic art is presented in the context of the (so called) Perennial Philosophy. I have the impression that Perennial Philosophy, in its Islamic version, is the official doctrine that underlies the thinking and teaching at Prince's School of Traditional Arts. Therefore, those who study there should be prepared, and should expect that from its teachers. Expect it also in many of this book's key essays. Some readers may like that about the book, but I do not.Taken all around, it is a beautiful book on a great subject, and I am grateful that we have it.

Amazed with the services- whether it's delivery of the book, condition of the book, safety of the book by packaging and in other normal concerns of every customers, was good and satisfactory......The book delivered was brand new, in absolute never flipped condition......Very happy with overall presentation.....Thanks to Thames and Hudson...and double thanks to Amazon.....

When I first found this books, I was mostly interested in learning about geometric designs and patterns as seen in the different Islamic cultures. In reality, however, it offers information on so much more than simple (it is anything but) geometry and math. The authors, whose individual competences and knowledge of art complement each other, provide wonderful insight on the topics of principles (geometry, islimi/arabesque, calligraphy), usage of materials and tools, and methods and techniques (plaster carving, mosaic, etc.) In general, the book is incredibly inclusive and thorough in terms of explanations of the theory and methods behind the various arts and crafts of the Islamic lands. The concepts are well-explained and, as a result, the book is suitable for anyone from enthusiasts with a wish to learn new skills to professional artists who would like to reinforce their knowledge in the subject matter.

Excellent technical information even if you never attempt the projects. True living history and an important resource to preserve and pass on the ancient knowledge. The sense of accomplishment in making one's own brush or piece of art is worth much more than the price of the book.

This book parallels a course in traditional Islamic art at the royal college of art in London. By focussing on how the art is made, and the strongly symbolic aspects of the products and techniques of making, the book provides a way of understanding "what you are seeing" when you look at the artefacts themselves, a way of "reading" them. Ina reflexive way, it made me think how much of my understanding of west European art is rooted in my own religious education. An additional question it raised for me was to begin to grasp how Orthodox art straddles two different modes of representation.As a "maker" myself, I also gained some insight into how to look using my hands rather than my eyes . . .