« Paper and Metal: The Irony that Ensues. The Coinage of Mas‘ūd of Ghazna (421-31/1030-40) ». Iran, 40, 2002, pp. 163-72.

This article considers the numismatic evidence for Ghaznavid history and titulature during the reign of Mas‘ūd I (421-31/1030-40) against the textual evidence offered by Beyhaqī’s Tārīḫ-e Mas‘ūdī. It is focused on issues from the mints in Ḫorāsān (Balḫ, Herāt, Nīšāpūr), and Ġazna. Although not specified, the title presumably refers to discrepancies between the epigraphic content of the coins and the representation of contemporary events in textual histories (the retention of the name of al-Qā..

« Paper and Metal: The Irony that Ensues. The Coinage of Mas‘ūd of Ghazna (421-31/1030-40) ». Iran, 40, 2002, pp. 163-72.

This article considers the numismatic evidence for Ghaznavid history and titulature during the reign of Mas‘ūd I (421-31/1030-40) against the textual evidence offered by Beyhaqī’s Tārīḫ-e Mas‘ūdī. It is focused on issues from the mints in Ḫorāsān (Balḫ, Herāt, Nīšāpūr), and Ġazna. Although not specified, the title presumably refers to discrepancies between the epigraphic content of the coins and the representation of contemporary events in textual histories (the retention of the name of al-Qā..

Legalism, Iconoclasm, and Anti-Colonialism – Other Statue Histories

https://cems.ceu.edu/rethinking-arab-history-society-and-culture-conference-honor-aziz-al-azmeh-202

‘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.

This article addresses the peculiar fact that in most art historical surveys the narrative of Islamic art history ends around 1800 CE. It considers the roots of this idiosyncrasy and its implications for attempts to coopt or instrumentalize the objects of Islamic art in the decade after 2001 in discourses of liberalism and tolerance in which an originary Islam was contrasted with modern more 'fundamentalist' understandings of religious belief and practice. It explores contradictions inherent in related attempts to locate models for Muslim religious subjectivity in medieval artefacts secularized as art objects

Beyond the “Bilderverbot” – From Tactile Piety to Floral Figures in the Arts of Islam

https://rietberg.ch/en/calendar/12460