Arts of Islamic Lands: Selections from The al-Sabah Collection, Kuwait
Museum of Fine Arts, Houston
January 31, 2015 – January 30, 2016
The Museum’s landmark partnership with the Kuwait-based al-Sabah Collection and the cultural institution Dar al-Athar al-Islamiyyah continues with an expanded installation of Arts of Islamic Lands: Selections from The al-Sabah Collection, Kuwait. The renowned al-Sabah Collection is one of the greatest privately held collections of Islamic art in the world. The collaboration with the Museum, established in 2012, led to the 2013 Houston debut of 67 objects ranging from carpets and architectural fragments to exquisite ceramics, metalwork, jewelry, scientific instruments, and manuscripts.
This newly expanded installation more than triples the display, increasing the art on view to some 250 works that, together, present an impressive and comprehensive spectrum of Islamic art. Objects from the 8th to 18th centuries—made in North Africa, the Middle East, Turkey, India, the Iberian Peninsula, and Central Asia—demonstrate the development of techniques, craftsmanship, and aesthetics in Islamic visual culture.Among the highlights are a 16th-century Ottoman Turkish prayer carpet; a glass mosque lamp from 14th-century Cairo; an extraordinary earthenware bowl from 9th-century Iraq that transcends its humble function; early gold jewelry from Afghanistan and Syria; and opulent Mughal jewelry crafted in the refined kundan technique, including a brilliant bird pendant fabricated in late 16th-century India from gold, rubies, emeralds, diamonds, and rock crystals.
Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection
Asian Art Museum, San Francisco
March 13 – November 1, 2015
Silk velvets have been preeminent luxury textiles in many parts of the Islamic world and Europe, especially from the 15th century onwards. They were often used for clothing and furnishings, such as as carpets, spreads, bolsters, hangings, and exchanged as diplomatic gifts. The 11 textiles in this exhibition are selections from a private New York collection, providing a glimpse into the richness and diversity of Iranian, Indian and Turkish silk velvets. Spanning three distinct cultural areas with their own design sensibilities and tastes, this group of textiles showcases different techniques of velvet production and suggests their varied uses. Of special note are the two complete 17th-century carpets from India and Iran, each measuring nearly 6 by 4 feet and retaining not only their design elements but also their vibrant colors. These, along with nine other substantially sized textile fragments, show the cultural exchange between the Mughal, Safavid and Ottoman empires—linked by shifting ties of political, religious and economic rivalry.
Qajar Women: Images of Women in 19th century Iran
8 April 2015 - 11 June 2016
Museum of Islamic Art (Doha, Qatar)
From 8 April, Qajar Women presents a completely new and innovative approach to Qajar art. Until now, the most popular representations of the Qajar era (1779 to 1925) have been of male sovereigns whose life-size portraits exaggerate masculinity to depict power. Yet this era is also characterised by artistic modernisation in Iran. This is particularly true of paintings and photography, in which women became essential characters in the events and scenes portrayed. The exhibition includes artworks that reflect various interpretations of female musicians, aristocratic women, women at the court and in private quarters, all exploring the rarely-told narratives of the Qajar artistic tradition.
A wide variety of objects, including lacquers, watercolours, manuscripts, jewellery, ceramics, and metalwork, are displayed in the Temporary Exhibition Galleries on the 4th floor of MIA. The exhibition is divided into four themes: ‘Notions of Beauty: Images of Women in Qajar Art’; ‘Daily Life’; ‘Women, Power, and Refinement’; and ‘Women as Symbols in Art.’ Qajar Women: Images of Women in 19th-Century Iran offers visitors a visually stunning introduction into this important period of art history. Works by contemporary artists inspired by Qajar iconography are also on view, demonstrating how the imagery of Qajar women continues to inspire artists today.
MIA is also offering special public programs in association with the exhibition, targeting women, academics, and families. These include daytime tours with exhibition curators, family activities on weekends, a learning beyond the classroom event scheduled for teachers, and many other programs. A special talk entitled ‘Beauty and Moustaches in Qajar Art’ will be delivered by the exhibition co-curators Dr. Mounia Chekhab-Abudaya and Dr. Nur Sobers-Khan in May 2015.
Islamic Art Now: Contemporary Art of the Middle East
The Los Angeles County Museum of Art (LACMA)
February 1, 2015-ongoing
The Los Angeles County Museum of Art (LACMA) presents Islamic Art Now: Contemporary Art of the Middle East, the first major exhibition of LACMA's holdings of Middle Eastern contemporary art—the largest such institutional collection in the United States. In recent years, the parameters of Islamic art at LACMA have expanded to include contemporary works by artists from or with roots in the Middle East. Drawing inspiration from their own cultural traditions, these artists use techniques and incorporate imagery and ideas from earlier periods. As the first of a two-part exhibition program, Islamic Art Now features 25 works—including photography, sculpture, video, and installation—by 20 artists from Iran and the Arab world, including Wafaa Bilal, Lalla Essaydi, Hassan Hajjaj, Mona Hatoum, Susan Hefuna, Youssef Nabil, Shirin Neshat, and Mitra Tabrizian, among others. Most of the works in Islamic Art Now have never been displayed previously at LACMA.Paroles de bêtes (à l'usage des princes): les fables de Kalila et Dimna
Institut du Monde Arabe, Paris
September 10, 2015 - January 3, 2016http://kwd.hypotheses.org/
The Institut du monde arabe presents "Paroles de bêtes (à l'usage des princes) : les fables de Kalila et Dimna". This exhibition traces back the history and diffusion of Kalila wa Dimna as well as its iconographical posterity until our contemporary days. Curators: Eloïse Brac de la Perrière (Paris-Sorbonne), Annie Vernay-Nouri (Bibliothèque nationale de France), Eric Delpont (IMA). This exhibition was made with the exceptional participation of the Bibliothèque Nationale de France.Liturgical Textiles of the Post-Byzantine World
Metropolitan Museum of Art
Through November 1, 2015http://www.metmuseum.org/exhibitions/listings/2015/liturgical-textiles
Seldom-shown textiles from the fifteenth to the eighteenth century from the Museum's departments of European Sculpture and Decorative Arts, Medieval Art and The Cloisters, and Islamic Art demonstrate the longevity of imagery developed in the Byzantine era over a wide geographical range, from workshops in Georgia to Muscovy to Greece. These rich and complex woven silks and gold-embroidered details of liturgical vestments communicate the continuing prestige of the Orthodox Church and its clergy in the centuries following the fall of Byzantine Constantinople to the Ottoman Turks in 1453.The Birmingham Qur’an Manuscript
University of Birmingham
October 2-25, 2015 www.birmingham.ac.uk/quran
A Qur’an manuscript held by the University of Birmingham has been placed among the oldest in the world thanks to modern scientific methods. Radiocarbon analysis has dated the parchment on which the text is written to the period between 568 and 645 CE with 95.4% accuracy. Researchers conclude that the Birmingham manuscript is among the earliest fragments of the Islamic holy book known to survive. The Birmingham Qur’an manuscript is on public display for a limited time only.