Islamic Maps

Spanning the Islamic world, from ninth-century Baghdad to nineteenth-century Iran, this book tells the story of the key Muslim map-makers and the art of Islamic cartography. Muslims were uniquely placed to explore the edges of the inhabited world and their maps stretched from Isfahan to Palermo, from Istanbul to Cairo and Aden. Over a similar period, Muslim artists developed distinctive styles, often based on geometrical patterns and calligraphy. Map-makers, including al-Khwārazmī and al-Idrīsī, combined novel cartographical techniques with art, science and geographical knowledge. The results could be aesthetically stunning and mathematically sophisticated, politically charged as well as a celebration of human diversity. 'Islamic Maps' examines Islamic visual interpretations of the world in their historical context, through the lives of the map-makers themselves. What was the purpose of their maps, what choices did they make and what was the argument they were trying to convey? Lavishly illustrated with stunning manuscripts, beautiful instruments and Qibla charts, this book shows how maps constructed by Muslim map-makers capture the many dimensions of Islamic civilisation, providing a window into the worldviews of Islamic societies.

The history of Islamic mapping is one of the new frontiers in the history of cartography. This book offers the first in-depth analysis of a distinct tradition of medieval Islamic maps known collectively as the Book of Roads and Kingdoms (Kitab al-Masalik wa al-Mamalik, or KMMS). Created from the mid-tenth through the nineteenth century, these maps offered Islamic rulers, scholars, and armchair explorers a view of the physical and human geography of the Arabian peninsula, the Persian Gulf, the Mediterranean, Spain and North Africa, Syria, Egypt, Iraq, the Iranian provinces, present-day Pakistan, and Transoxiana. Historian Karen C. Pinto examines around 100 examples of these maps retrieved from archives across the world from three points of view: iconography, context, and patronage. By unraveling their many symbols, she guides us through new ways of viewing the Muslim cartographic imagination.

This book documents the relationship and wisdom of Asian cartographers in the Islamic and Chinese worlds before the Europeans arrived.

In Creating the Mediterranean: Maps and the Islamic Imagination Tarek Kahlaoui treats the subject of the Islamic visual representations of the Mediterranean. It tracks the history of the Islamic visualization of the sea from when geography was created by the Islamic state’s bureaucrats of the tenth century C.E. located mainly in the central Islamic lands, to the later men of the field, specifically the sea captains from the fourteenth to the sixteenth centuries C.E. located in the western Islamic lands. A narrative has emerged from this investigation in which the metamorphosis of the identity of the author or mapmaker seemed to be changing with the rest of the elements that constitute the identity of a map: its reader or viewer, its style and structure, and its textual content.

Hundreds of exceptional cartographic images are scattered throughout medieval and early modern Arabic, Persian, and Turkish manuscript collections. The plethora of copies created around the Islamic world over the course of eight centuries testifies to the enduring importance of these medieval visions for the Muslim cartographic imagination. With Medieval Islamic Maps, historian Karen C. Pinto brings us the first in-depth exploration of medieval Islamic cartography from the mid-tenth to the nineteenth century. Pinto focuses on the distinct tradition of maps known collectively as the Book of Roads and Kingdoms (Kitab al-Masalik wa al-Mamalik, or KMMS), examining them from three distinct angles—iconography, context, and patronage. She untangles the history of the KMMS maps, traces their inception and evolution, and analyzes them to reveal the identities of their creators, painters, and patrons, as well as the vivid realities of the social and physical world they depicted. In doing so, Pinto develops innovative techniques for approaching the visual record of Islamic history, explores how medieval Muslims perceived themselves and their world, and brings Middle Eastern maps into the forefront of the study of the history of cartography.

In just over a hundred years--from the death of Muhammad in 632 to the beginning of the Abbasid Caliphate in 750--the followers of the Prophet swept across the whole of the Middle East, North Africa, and Spain. Their armies threatened states as far afield as the Franks in Western Europe and the Tang Empire in China. The conquered territory was larger than the Roman Empire at its greatest expansion, and it was claimed for the Arabs in roughly half the time. How this collection of Arabian tribes was able to engulf so many empires, states, and armies in such a short period of time is a question that has perplexed historians for centuries. Most recent popular accounts have been based almost solely on the early Muslim sources, which were composed centuries later for the purpose of demonstrating that God had chosen the Arabs as his vehicle for spreading Islam throughout the world. In this ground-breaking new history, distinguished Middle East expert Robert G. Hoyland assimilates not only the rich biographical and geographical information of the early Muslim sources but also the many non-Arabic sources, contemporaneous or near-contemporaneous with the conquests. The story of the conquests traditionally begins with the revelation of Islam to Muhammad. In God's Path, however, begins with a broad picture of the Late Antique world prior to the Prophet's arrival, a world dominated by the two superpowers of Byzantium and Sasanian Persia, "the two eyes of the world." In between these empires, in western (Saudi) Arabia, emerged a distinct Arab identity, which helped weld its members into a formidable fighting force. The Arabs are the principal actors in this drama yet, as Hoyland shows, the peoples along the edges of Byzantium and Persia--the Khazars, Bulgars, Avars, and Turks--also played important roles in the remaking of the old world order. The new faith propagated by Muhammad and his successors made it possible for many of the conquered peoples to join the Arabs in creating the first Islamic Empire. Well-paced and accessible, In God's Path presents a pioneering new narrative of one the great transformational periods in all of history.

A portable, easy-to-use map guide that locates over 700 hundred Islamic-era monuments in historic Cairo using the most sophisticated Geographic Information Systems (GIS) technology This portable, easy-to-use map guide helps you locate over seven hundred Islamic-era monuments in Cairo's historic core, stretching from the city's northern walls all the way southward to the Mosque of Ibn Tulun and the Citadel, and beyond to Coptic Cairo, which includes monuments that pre-date Islamic rule. Clearly divided into six digestible main sections, the first five contain clusters of monuments, while the sixth covers structures scattered all around the old Cairene urban fabric. The clear, uncluttered cartographic style makes finding where you want to go a pleasure, and the maps are accompanied by a comprehensive index of monuments that gives their dates where known, their location referenced to their corresponding map pages, and a timeline of key periods and dynasties. Attractively designed in full color and including over twenty photographs of key monuments, this guide is conveniently packed into a slim 104 pages--handy enough to take anywhere and great for planning and remembering excursions. It is not only an ideal companion for the city's visitors and residents but an invaluable resource for historians, writers, and students.

In Picturing the Islamicate World, Nadja Danilenko explores the message of the first preserved maps from the Islamicate world. Safeguarded in al-Iṣṭakhrī’s Book of Routes and Realms (10th century C.E.), the world map and twenty regional maps complement the text to a reference book of the territories under Muslim rule. Rather than shaping the Islamicate world according to political or religious concerns, al-Iṣṭakhrī chose a timeless design intended to outlast upheavals. Considering the treatise was transmitted for almost a millennium, al-Iṣṭakhrī’s strategy seems to have paid off. By investigating the Persian and Ottoman translations and all extant manuscripts, Nadja Danilenko unravels the manuscript tradition of al-Iṣṭakhrī’s work, revealing who took an interest in it and why.

Two remarkable Iranian world-maps were discovered in 1989 and 1995. Both are made of brass and date from 17th-century Iran. Mecca is at the centre and a highly sophisticated longitude and latitude grid enables the user to determine the direction and distance to Mecca for anywhere in the world between Andalusia and China. Prior to the discovery of these maps it was thought that such cartographic grids were conceived in Europe ca. 1910. This richly-illustrated book presents an overview of the ways in which Muslims over the centuries have determined the sacred direction towards Mecca (qibla) and then describes the two world-maps in detail. The author shows that the geographical data derives from a 15th-century Central Asian source and that the mathematics underlying the grid was developed in 9th-century Baghdad.

This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.