Islamic Shangri La

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. Islamic Shangri-La transports readers to the heart of the Himalayas as it traces the rise of the Tibetan Muslim community from the 17th century to the present. Radically altering popular interpretations that have portrayed Tibet as isolated and monolithically Buddhist, David Atwill's vibrant account demonstrates how truly cosmopolitan Tibetan society was by highlighting the hybrid influences and internal diversity of Tibet. In its exploration of the Tibetan Muslim experience, this book presents an unparalleled perspective of Tibet's standing during the rise of post–World War II Asia.

This inspiring book accompanies the first traveling exhibition about Doris Duke’s estate Shangri La and its influential synthesis of modernist architecture and Islamic art and design. Situated on five acres of terraced gardens and pools overlooking the Pacific Ocean and Honolulu’s Diamond Head, Shangri La was the idyllic paradise of philanthropist Doris Duke, reflecting her personal passion for the art, architecture, and design of the Islamic world. The estate incorporates unique architectural features, such as carved marble doorways, jalis, and floral ceramic tiles, and the decor includes artifacts, such as silk textiles, jewel-toned chandeliers, and gilt and coffered ceilings, many collected during her travels. This volume presents an exclusive tour of Shangri La’s breathtaking interiors and landscape, including the splendid furnishings and art. Archival photographs of Duke and friends as well as correspondence and drawings provide a view into a lifestyle defined by the highest sense of aesthetics. Doris Duke’s Shangri La is sure to inspire both art and design lovers.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Islamic Shangri-La transports readers to the heart of the Himalayas as it traces the rise of the Tibetan Muslim community from the 17th century to the present. Radically altering popular interpretations that have portrayed Tibet as isolated and monolithically Buddhist, David Atwill's vibrant account demonstrates how truly cosmopolitan Tibetan society was by highlighting the hybrid influences and internal diversity of Tibet. In its exploration of the Tibetan Muslim experience, this book presents an unparalleled perspective of Tibet's standing during the rise of post–World War II Asia.

Perfect for fans of Nelson DeMille and Daniel Silva Ex-Israeli operative turned private investigator, Dotan Naor—to settle a bet—agrees to locate the missing son of former acquaintance, now ruthless Israeli arms merchant, Willy Mizrachi. Willy, who does not hesitate to sell killing machines to the most heinous players in the world, is desperate to find his only son, Itiel, who has headed to an ashram in the Himalayas. The Himalayas are also host to groups of young Israelis who have completed their mandatory military service—a sort of rite of passage. Now, those innocent kids are being hunted down by violent terrorists. India and the disputed Kashmir region between India and Pakistan is familiar territory to Dotan, as he searches for Itiel and for the source of these heinous attacks on Israeli youth. Unwilling to leave this quest in the hands of Dotan, Willy also travels to India, where he is murdered in Delhi, triggering international repercussions capable of ripping the world apart at one of its most dangerous flashpoints. Nothing is as it seems in this region of the world. Betrayal reigns everywhere. But love, in its purest form, does manage to shine through in this story of brutal international corruption.

Place plays a fundamental role in the structuring of the discipline of Art History. And yet, place also limits the questions art historians can ask and impairs analysis of objects and locations in the interstices of established, ossified categories. The chapters in this interdisciplinary volume investigate place in all of its dynamism and complexity: several call into question traditional constructions regarding place in Art History, while others explore the fundamental role that place plays in lived experience. The particular nexus for this collection lies at the intersection and overlap of two major subfields in the history of art: South Asia and the Islamic world, both of which are seemingly geographically determined, yet at the same time uncategorizable as place with their ever-shifting and contested borders. The eleven chapters brought together here move from the early modern through to the contemporary, and span particular monuments and locations ranging from Asia and Europe to Africa and the Americas. The chapters take on the question of place as it operates in more obvious settings, such as architectural monuments and exhibitionary contexts, while also probing the way place operates when objects move or when the very place they exist in transforms dramatically. This volume engages place through the movement of objects, the evocation of senses, desires, and memories and the on-going project of articulating the parameters of place and location.

While scholars have long looked at the role of political Islam in the Middle East, it has been assumed that domestic politics in the wealthy monarchical states of the Arabian Gulf, so-called "rentier states" where taxes are very low and oil wealth subsidizes the needs of citizens, are largely unaffected by such movements. However, the long accepted rentier theory has been shortsighted in overlooking the socio-political role played by Muslim Brotherhood affiliates in the super-rentiers of Kuwait, Qatar, and the United Arab Emirates. While rentier state theory assumes that citizens of such states will form opposition blocs only when their stake in rent income is threatened, this book demonstrates that ideology, rather than rent, have motivated the formation of independent Islamist movements in the wealthiest states of the region. In the monarchical systems of Qatar and the UAE, Islamist groups do not have the opportunity to compete for power and therefore cannot use the ballot box to gain popularity or influence political life, as they do elsewhere in the Middle East. But, as this book points out, the division between the social and political sectors is often blurred in the socially conservative states of the Gulf, as political actors operate through channels that are not institutionalized. Simply because politics is underinstitutionalized in such states does not mean that it is underdeveloped; the informal realm holds considerable political capital. As such, the book argues that Brotherhood movements have managed to use the links between the social (i.e. informal personal networks) and political (i.e. government institutions) to gain influence in policymaking in such states.Using contemporary history and original empirical research, Courtney Freer updates traditional rentier state theory and argues that political Islam serves as a prominent voice and tool to promote more strictly political, and often populist or reformist, views supported by many Gulf citizens.

"Men who inherit great wealth are respected, but women who do the same are ridiculed. In The Silver Swan, Sallie Bingham rescues Doris Duke from this gendered prison and shows us just how brave, rebellious, and creative this unique woman really was, and how her generosity benefits us to this day.” —Gloria Steinem A bold portrait of Doris Duke, the defiant and notorious tobacco heiress who was perhaps the greatest modern woman philanthropist In The Silver Swan, Sallie Bingham chronicles one of the great underexplored lives of the twentieth century and the very archetype of the modern woman. “Don’t touch that girl, she’ll burn your fingers,” FBI director J. Edgar Hoover once said about Doris Duke, the inheritor of James Buchanan Duke’s billion-dollar tobacco fortune. During her lifetime, she would be blamed for scorching many, including her mother and various ex-lovers. She established her first foundation when she was twenty-one; cultivated friendships with the likes of Jackie Kennedy, Imelda Marcos, and Michael Jackson; flaunted interracial relationships; and adopted a thirty-two year-old woman she believed to be the reincarnation of her deceased daughter. This is also the story of the great houses she inhabited, including the classically proportioned limestone mansion on Fifth Avenue, the sprawling Duke Farms in New Jersey, the Gilded Age mansion Rough Point in Newport, Shangri La in Honolulu, and Falcon’s Lair overlooking Beverly Hills. Even though Duke was the subject of constant scrutiny, little beyond the tabloid accounts of her behavior has been publicly known. In 2012, when eight hundred linear feet of her personal papers were made available, Sallie Bingham set out to probe her identity. She found an alluring woman whose life was forged in the Jazz Age, who was not only an early war correspondent but also an environmentalist, a surfer, a collector of Islamic art, a savvy businesswoman who tripled her father’s fortune, and a major philanthropist with wide-ranging passions from dance to historic preservation to human rights. In The Silver Swan, Bingham is especially interested in dissecting the stereotypes that have defined Duke’s story while also confronting the disturbing questions that cleave to her legacy.

Ferozkoh: Tradition and Continuity in Afghan Art represents a partnership between the Museum of Islamic Art, Doha and the students and teachers of the Institute for Afghan Arts and Architecture in Kabul. The unifying theme of the exhibition is the preservation of the traditional arts of the Islamic world - in both themes and materials - in the modern world, and the role of education in its transmission and translation. Half of the objects featured in the exhibition are historical objectsmasterpieces from the Museum of Islamic Art's collection, from four great dynasties with connections to Afghanistan: the Ghaznavids, Timurids, Mughals and Safavids.The other half of the exhibition presents works created specifically for the exhibition by Turquoise Mountain students in response to, and in conversation with, the historical objects. Featuring exquisite photography and unique research, this catalogue is a visually stunning representation of the exhibition and a valuable record of an extraordinary endeavour.