Illustrations

1. 1.1 Map of archeological sites excavated in the Near East where cuboid incense burners have been found 24
2. 1.2 Map of archeological sites excavated in the Arabian Peninsula where cuboid incense burners have been found 25
3. 1.3 Cuboid incense burner DA12728, Raʾs al-Jinz, Sultanate of Oman. Courtesy of the Ministry of Heritage and Culture, Sultanate of Oman 27
4. 1.4 Cuboid incense burner DA12728, Raʾs al-Jinz, found in situ from Building XI, Room 9, with Harappan seal impressions from Building VII, Room 8. Courtesy of Dr. Dino Politis 27
5. 1.5 Cuboid incense burner fragment DA10850, Raʾs al-Jinz. Courtesy of The Ministry of Heritage and Culture, Sultanate of Oman 27
6. 1.6 Cuboid incense burners from Sir Leonard Woolley’s excavations notes at Ur, Iraq. Courtesy of The Trustees of the British Museum 29
7. 1.7 Incense burner from Ur-Larsa Period (UM U.6812; line drawing by W. Zimmerle and Fatima Abboud). Courtesy of The University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia 30
8. 1.8 Incense burner from Shahbwa, Yemen (BM 125682; 1937, 0507.1). Courtesy of The Trustees of the British Museum 32
9. 1.9 Old South Arabian incense burner inscribed with four scent notes ldn, kmkm, drm and qsṭ (UM Philadelphia 50-47-31). Courtesy of The University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia 35
10. 1.10 Fragment of an incense burner leg on display in the Tayma Museum of Archaeology and Ethnography (line drawing by W. Zimmerle and Fatima Abboud). Courtesy of The Kingdom of Saudi Arabia Tourism and Antiquities 35
11. 1.11 Cuboid incense burner with four legs and four horns from Dhofar. Photograph by William Zimmerle, 2012 38
12. 1.12 Craft training center in Salalah, Sultanate of Oman, where adults and children train to make incense burners. Photograph by William Zimmerle, 2011 38
13. 1.13 The “roof” of an incense burner as an architectural model from Dhofar. Photograph by William Zimmerle, 2014 39
14. 1.14 A potter designing an incense burner in Dhofar. Photograph by William Zimmerle, 2014 40
15. 1.15 A potter cutting architectural features onto her Dhofari incense burner. Photograph by William Zimmerle, 2015 40
16. 1.16 A Dhofari woman wearing an al-kanūn during a heritage festival, Sultanate of Oman. Photograph by William Zimmerle, 2014 40
17. 2.1 Mid-twentieth-century pearl jewelry. Photograph by Victoria Penziner Hightower with permission from The Sharjah Heritage Museum, U.A.E 46
18. 4.1 H. Moll, Arabia. Agreeable to Modern History. Printed and sold by T. Bowles & I. Bowles, Cornhill, 1736(?). Courtesy of The David Rumsey Map Collection, Stanford University 70
19. 4.2 William Hogarth, Taste in High Life [graphic]. Etching on wove paper. Print made by Isaac Mills after William Hogarth’s painting, without the artist’s permission, London, 1798. Courtesy of The Lewis Walpole Library, Yale University 73
20. 4.3 The Honey-Moon [graphic]. Mezzotint, hand-colored. Printed for Carington Bowles in St. Paul’s Church Yard, London, 1777. Courtesy of The Lewis Walpole Library, Yale University 74
21. 4.4 Telling Fortune in Coffee-Grounds [graphic]. Engraving on laid paper, hand-colored. Published by Robert Sayer, London, 1790. Courtesy of The Lewis Walpole Library, Yale University 75
22. 4.5 James Gillray, La belle assemblée [graphic]. Etching with stipple on laid paper. Published by H. Humphrey, London, 1787. Courtesy of The Lewis Walpole Library, Yale University 75
23. 4.6 Phillip Dawe, The Beauty Unmask’d [graphic]. Mezzotint, hand-colored. Printed for Carington Bowles, London, 1770. Courtesy of The Lewis Walpole Library, Yale University 77
24. 4.7 The Female Florist’s [graphic]. Mezzotint, hand-colored. Printed for Robert Sayer, London, 1773. Courtesy of The Lewis Walpole Library, Yale University 77
25. 4.8 The Bottle Imp. Lewis Walpole Library’s Collection of Eighteenth-Century Theatrical Prints. Courtesy of The Lewis Walpole Library, Yale University 81
26. 4.9 Isaac Cruikshank, The Gallery of Fashion [graphic]. Etching on wove paper, hand-colored. Published by S.W. Fores, London, 1796. Courtesy of The Lewis Walpole Library, Yale University 82
27. 4.10 James Gillray, High Change in Bond Street; ou la politesse du grande monde [graphic]. Etching on wove paper, hand-colored. Published by H. Humphrey, London, 1796. Courtesy of The Lewis Walpole Library, Yale University 83
28. 4.11 A. Birrell, Sir Robert Shirley [graphic]. Engraving on wove paper. Published by Edward Harding, London, 1799. Courtesy of The Lewis Walpole Library, Yale University 84
29. 5.1 Mr. Bologna Jun-r as Kalim Azack in Aladdin, or the Wonderful Lamp. New York Public Library Digital Collections. Billy Rose Theatre Division, The New York Public Library. Accessed March 1, 2019. http://digitalcollections.nypl.org/items/510d47e4-4fb4-a3d9-e040-e00a18064a99 96
30. 5.2 Mr. Grimaldi as Kazrac (the Chinese slave) in Aladdin, or the Wonderful Lamp. New York Public Library Digital Collections. Billy Rose Theatre Division, The New York Public Library. Accessed March 1, 2019. http://digitalcollections.nypl.org/items/510d47dd-ecc4-a3d9-e040-e00a18064a99 96
31. 5.3 Hodgson character sheet featuring “Aladdins 2nd Dress,” “Abanayar 2d Dress Commanding Aladdin to Descend into the Cavern,” “Kara Konjou,” “Table Rises,” “Kayarack Frightened,” “Widow Ching Faints at the Sight of the Geni,” “2d Geni of the Lamp,” and “Geni of the Ring.” Published by O. Hodgson, London, 1831. Courtesy of The Victoria and Albert Museum 98
32. 5.4 Hodgson’s Scenes in Aladdin, Seventh, including three characters: a genie of the ring, Kazrack, and Aladdin in a fantastic setting decorated with elephants, sphinxes, elaborate columns, and trees. Published by O. Hodgson, London, 1832. Courtesy of The Victoria and Albert Museum 99
33. 5.5 Collection d’antiques, 1–7. Lampes en bronze, 8.9. Pierres gravées. In Description de l’Égypte, ou Recueil des observations et de recherches qui ont été faites en Egypte pendant l’expedition de l’armée française (Paris: de l’Imprimerie Imperiale, 1809–1829). New York Public Library Digital Collections. General Research Division, The New York Public Library. Accessed March 1, 2019. http://digitalcollections.nypl.org/items/510d47e0-2126-a3d9-e040-e00a18064a99 100
34. 5.6 Aladdin Magic Lamp Story Ad, 1927. Advertisement Gallery. Accessed March 1, 2019. https://www.magazine-advertisements.com/lamps-and-lighting/ 102
35. 6.1 Jean-Léon Gérôme, Arabs Crossing the Desert, 1870. Courtesy of Najd Collection, Switzerland 106
36. 6.2 Jean-Léon Gérôme, The Snake Charmer, 1879. Courtesy of The Clark Art Institute, Williamstown, Massachusetts, U.S.A 107
37. 6.3 Robert Hitchens, The Garden of Allah. Souvenir Book of the Play. New York. Liebler, 1911. Shubert Archives, NYC 114
38. 6.4 The Garden of Allah Pilgrimage down Pennsylvania Avenue, 1923. In Joseph Edgerton, Across the Burning Sands to the National Homecoming: The Pilgrimage 1923: The Official Story by Word and Picture of the Imperial Council Session of the AAONMS at Washington, D.C., n.p. Livingston Masonic Library, New York 119
39. 6.5 An “Oriental Princess,” “Baghdad Clowns,” Cleopatra, “Queen of the Shrine,” and “Harem Dancers from Medinah.” In Joseph Edgerton, Across the Burning Sands, p. 136. Livingston Masonic Library, New York 119
40. 7.1 Zayed bin Sultan Al Nahayan with a Falcon. Reprinted from Zayed bin Sultan Al Nahayan, Falconry as a Sport—Our Arab Heritage (Abu Dhabi: Westerham Press, 1976), p. 41 127
41. 7.2 A one-hundred-dirham banknote with the local saker falcon, the national symbol of the U.A.E. Photograph by Yannis Hadjinicolaou 128
42. 7.3 The Outcome of the Fight Is Uncertain (Exitus in dubio est). Emblem, Joachim Camerarius, Symbolorum & Emblematicum, III No. 32, Nürenberg 1598. Staatsbibliothek zu Berlin 129
43. 7.4 [Unknown artist from Maratha], Battle Scene. Miniature, 18th century, University of Aurangabad, India 129
44. 7.5 David Teniers the Younger, Heron Hunt with Archduke Leopold William. Oil on canvas, ca. 1654 130
45. 7.6 A male figure holding a bird of prey dated between the third century B.C. and the second century A.D. Copper alloy. Photograph by Yannis Hadjinicolaou with permission from The Sharjah Archaeological Museum, U.A.E 132
46. 7.7 Tetradrachm of Alexander the Great. Reverse Zeus with eagle with the Greek inscription “King Alexander,” the fourth century B.C. Photograph by Yannis Hadjinicolaou with permission from Louvre Abu Dhabi, U.A.E 132
47. 7.8 Cover image, Zayed bin Sultan Al Nahayan, Falconry as a Sport—Our Arab Heritage. Photograph by Yannis Hadjinicolaou 133
48. 7.9 Zayed bin SultanAl Nahayan during a falconry expedition. Reprinted from Zayed bin Sultan Al Nahayan, Falconry as a Sport—Our Arab Heritage, p. 76 134
49. 7.10 Friedrich II, De Arte Venandi Cum Avibus. Folio lv, Manfredi Manuscript 1258–1266, Vatican Library, Rome 135
50. 7.11 [Unidentified Painter], Zayed bin Sultan Al Nahayan with falcons in the desert, ca. 1990. Oil on canvas. Photograph by Yannis Hadjinicolaou with permission from Al Ain Palace Museum, U.A.E 135
51. 7.12 Hans Burgmair, Maximilian I on His Falconry Expedition. Woodcut, 1515. Courtesy of The British Museum 137
52. 7.13 Cover image showing a group of Bedouins, two of them holding hooded falcons. Reprinted from Wilfred Thesiger, Arabian Sands (Dubai: Motivate Publishing, 1994) 138
53. 7.14 Francesco del Cossa, detail image of Allegory of April, ca. 1468. Fresco. Courtesy of Palazzo Schifanoia, Ferrara 140
54. 7.15 Aegidius Sadeler, Portrait of Mechti Kuli Beg, 1605. Etching. Courtesy of The British Museum 140
55. 7.16 Falcon statue. Gift to the German Interior Minister from his U.A.E. counterpart, 2010. Courtesy of The German Ministry of the Interior 141
56. 7.17 Palace Gossip. Performance reading by Raja´a Khalid, 2018. Courtesy of the artist 142
57. 8.1 Al-Sadu weaving with ragaoum technique displayed at The Safir Hotel, Failaka Island (date unknown). Photograph by Ceyda Oskay, 2016 143
58. 8.2 Desert land, Al-Qassim region. Photograph by Rana Al Ogayyel, 2019 145
59. 8.3 City land, Riyadh. Photograph by Rana Al Ogayyel, 2019 146
60. 8.4a–d Refah Al Raheel’s individual sign. Photograph by Rana Al Ogayyel, 2019 147
61. 8.5a–b Al-Sadu carpets. Photograph by Rana Al Ogayyel, 2016 149
62. 8.6 Al-Sadu ground loom. Photograph by Rana Al Ogayyel, 2019 149
63. 8.7a–c A gazelle horn used in al-Sadu weaving. Photograph by Rana Al Ogayyel, 2019 150
64. 8.8 Symbol of stars in contemporary al-Sadu weaving by Leila Yaser. Photograph by Ceyda Oskay with permission from Al Sadu Society, Kuwait, 2016 150
65. 8.9 Al-Sadu weaving depicting a human figure on display at The Safir Hotel, Failaka Island, Kuwait (date unknown). Photograph by Ceyda Oskay, 2016 151
66. 8.10 Symbols of earrings in contemporary al-Sadu weaving (weaver unknown). Photograph by Ceyda Oskay with permission from Al Sadu Society, Kuwait, 2016 152
67. 8.11 Symbol of scissors in al-Sadu weaving (date unknown). Photograph by Ceyda Oskay with permission from Al Sadu Society, Kuwait, 2016 152
68. 8.12a–b Al-Sadu weaving containing abstract representations of a kneeling camel with a carriage placed on top of it, used during wedding ceremonies (date unknown). Photograph by Ceyda Oskay with permission from Al-Sadu Society, Kuwait, 2016 153
69. 8.13 Laila Yaser’s weaving showing the logo of the Kuwait television. This weaving was awarded the first place in the Al-Sadu Society’s Weaving Competition, 2015–2016. Photograph by Ceyda Oskay with permission from Al Sadu Society, Kuwait 154
70. 8.14a–b Contemporary weavings by Refah Al Raheel (a) and Wazifah Al Shamrii (b), showing modern al-Sadu patterns with figurations of buildings. Photographs by Rana Al Ogayyel, 2017–2018 155
71. 8.15 Typical black-and-white Bedouin tent. Photograph by Rana Al Ogayyel, 2019 158
72. 8.16 Typical three-poled Bedouin tent. Reprinted from Hilden, 2010, pp. 24–25 158
73. 8.17 Nabila Al Bassam, “Bedouin Varieties,” 1998–1999. Courtesy of the artist 159
74. 8.18a–b Al-Sadu weavings by Bader Al-Mansour. Photograph by Bader Al-Mansour, 2019. Courtesy of the artist 160
75. 8.19 Zeri Crafts Showroom, Kuwait, 2019. Photograph by Laila Al-Hamad. Courtesy of the artist 161
76. 9.1 T.E. Lawrence (aka Lawrence of Arabia) by B.E. Leeson. Rabegh, north of Jidda, 1917. National Portrait Gallery, London 168
77. 10.1 Several kirsh kitab hang on a wall among other bits and pieces of silverwork in a shop owned by a former saʾig in Nizwa, Oman 180
78. 10.2 The horrid likeness of UmmAl Subyan etched into the surface of a kirsh kitab 181
79. 10.3 Kirsh kitab featuring words from SuratAl Ikhlas 112:1–4, SuratAl Buruj 85:2, Surat Yusuf 12:64, and SuratAl Imran 5:173 190
80. 11.1 Jewelry from the Tylos (Hellenistic) Period of Bahrain’s history (330 B.C.–622 A.D.). Courtesy of The National Museum of Bahrain 194
81. 11.2 Protective verse on a tiny plaque hanging from a key chain dating from 1976. Photograph by Ayesha AlMarzooqi 198
82. 11.3 Woman wearing traditional clothing at Qasr Al Hosn Festival, Abu Dhabi. Photograph by Marie-Claire Bakker, 2016 198
83. 11.4a–b Van Cleef and Arpels Sweet Alhambra set. Photograph by Mariam AlFahim, 2015 199
84. 11.5 Children in traditional clothing at Qasr Al Hosn Festival, Abu Dhabi. Photograph by Marie-Claire Bakker, 2016 201
85. 11.6 “My grandfather had a sister called Maryam, and he loved her so much. He gave her this gift the day before she died. Just days later, God blessed him with a child and he named her Maryam. He gave this necklace to his daughter, Maryam. This was a gift from Maryam to Maryam.” Photograph and text by Maha AlHosani, 2017 201
86. 11.7 Young girl dressed up for Eid Al Adha wearing a murtʿasha choker and a large necklace with a central hilal (crescent) element, known in the U.A.E. as almajlis. Photograph by Ayesha AlMarrar, 2018 201
87. 11.8 ʿIrq Zayed Perfume draped with a pearl necklace featuring the image of the late Sheikh Zayed bin Sultan Al Nahayan, set with pearls and rubies. Photograph by Rawdha Al Ketbi, 2016 202
88. 11.9 Sisters dressed up in their flag dresses for the U.A.E. National Day, 2 December 2018. Photograph by Fatima Makki, 2018 203
89. 11.10 Shamma Ahmad Al Ketbi wearing a short murtaʿasha, dressed up for the U.A.E. National Day, 2 December 2018. Photograph by Maryam Ahmad Al Ketbi, 2018 204
90. 11.11 Laila Al Qubaisi wearing triangular shnaaf on her forehead, a murtaʿasha choker, a seytemi coin necklace, a gold hugub (belt), and kawashy earrings for her wedding. The jewelry in the foreground is a tafrooga necklace (also known as mareya). Photograph by Mariam Al Qubaisi, 2017 204
91. 11.12 A Bahraini bride in traditional green thobe wearing a hama with tallat on her head, sweet basil, jasmine, and rose buds in her plaited hair, a murtaʿasha choker, and a long murtahish necklace ending in a crescent element. Courtesy of The National Museum of Bahrain 207
92. 11.13 Wedding murtaʿasha. Photograph by Zainab Al Hosani, 2016 208
93. 11.14 Huyul bu showq (also known as banjeri), in a single and double row of spikes. Photograph by Fatima Al Shehhi, 2018 208
94. 11.15 Pearls belonging to Tefla Al Mazrouie’s family, acquired from Qatar in the 1980s. Photograph by Ayesha AlMarrar, 2017 210