Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader’s attention several new areas for consideration.
The book examines glass wares which were probably made for a local Chinese-Muslim clientele, illustrating a fascinating mixture of traditional Chinese and Muslim craft traditions. While the inscriptions on them can be related directly to the mosque lamps of the Arab world, their form and style of decoration is characteristically that of Han Chinese. Several contemporary Chinese Muslim artists have succeeded in developing a unique fusion of calligraphic styles from both cultures. Other works examined include enamels, porcelains, and interior painted snuff bottles, with emphasis on either those with Arabic inscriptions, or on works by Chinese Muslim artists. The book includes a chapter written by Dr. Shelly Xue and an addendum written by Dr. Riccardo Joppert.
This book will appeal to scholars working in art history, religious studies, Chinese studies, Chinese history, religious history, and material culture.
Table of Contents
- The Arrival of Muslim Artisans in China; 2. A Confluence of Different Cultures; 3. Qing Dynasty Glass with Islamic Influences: A Study of Some Examples by Shelly Xue, Ph. D.; 4. Chinese Glass Wares with Arabic Inscriptions; 5. Porcelains for the Islamic Market; 6. Guangzhou Enamel Wares; 7. Jade from Khotan; 8. Interior Painted Snuff Bottles: A Leading Exponent; 9. Chinese and Islamic Calligraphy: An Harmonious Blend; 10. Addendum: Dr. Riccardo Joppert, Ph. D
Emily Byrne Curtis is an independent scholar. She is the author of Glass Exchange between Europe and China, 1550-1800: Diplomatic, Mercantile, and Technological Interactions(Routledge 2009).
"While this book is certainly a useful tool for a specialist audience thanks to its expansive bibliography and rich references for further in-depth studies, it remains usable by anyone seeking information on Chinese artistic production’s complex network of historical, commercial, and cultural intersections with the Islamic world."