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[1]No book on Islamic art would be complete without a discussion of its doctrinal source, al-Hamadhani, who is considered a major transmitter of the discipline to Syria.
[3]The only documents that have survived the carnage of recent years in Syria are the ones of the Ministries of Defense and Foreign Affairs; however, they were written only from the mid-18th century until the mid-19th.
[4]This is the traditional method of copying calligraphy and painting on stone.
[5]To this day, the 14th-century Mamluk-era inlays of the Mosque-Madrassa-Sa'adiya (across from the Gülhane) are still of the utmost beauty.
[6]According to Syrian and Syrian-American artistic historians, the time period between Al-Azhar and the European Renaissance (i.e., the time of al-Hamadhani) was one of the most prosperous eras in terms of the dissemination of humanist ideas and developments.
[7]This is a practice that has its origin in antiquity; however, it was not necessarily practiced in Damascus, as the practice grew increasingly common in the Umayyad and Abbasid courts.
[8]For more on this topic, see my companion work, 'The Old Man of the Mountain: How Wealth, Authority, and the Cult of the Prophet Abused Muslim Art in the Late Ottoman Empire' (forthcoming from Oxford University Press in 2013).
[9]Today, the museum is known as the Museum of Antiquities and Munch Museum of Sculpture; it was formerly called the "Imperial Antiquities Museum."
[10]The text reads: "Miserable is he, the one who changes a verse of the Qur'an for a paltry sum; indeed, he is a liar and hypocrite."
[11]Interestingly enough be359ba680
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