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Carter Vaughn Findley

equates the Arabic names of the three “parts” above with i‘tiqadat, ‘ibadat , and mu‘amelat . 27 The first term, i‘tiqadat , comes from the same Arabic root as al-Nasafi’s title, ‘Aqa’id , both terms signifying matters of faith and belief. ‘Ibadat is the normal term for the obligatory acts of


Carter Vaughn Findley

the origins of the Quraysh, the tribe of Muhammad, and adding to his genealogy the succession to leadership in the Muslim community. As noted, the belief that Selim I acquired the caliphate upon the conquest of Cairo in 1517 is wrong as history. As Ottoman dynastic propaganda, however, the


Edited by Walter Melion and Lee Palmer Wandel

In bringing together work on optic theory, ethnography, and the visual cultures of Christianity, this volume offers a sense of the richness and the complexity of early modern thinking about the human eye. The seven case studies explore the relationship between vision and knowledge, taking up such diverse artifacts as an emblem book, a Jesuit mariological text, Calvin’s Institutes, Las Casas’s Apologia, Hans Staden’s True History, the Codex Telleriano-Remensis, and an exegetical painting by Herri met de Bles. Argued from different disciplinary perspectives, these essays pose crucial questions about the eyes, asking how they were construed as instruments of witnessing, perception, representation, cognition, and religious belief.

Contributors include: Tom Conley, Walter Melion, José Rabasa, Lee Palmer Wandel, Michel Weemans, Nicolás Wey Gómez, and Neil Whitehead.


Various Authors & Editors

Russian Avant-garde, 1904-1946

Gold mine
The Russian literary avant-garde was both a cradle for many new literary styles and the birthplace of a new physical appearance for printed materials. The strength of this collection is in its sheer range. It contains many rare and intriguingly obscure books, as well as well-known and critically acclaimed texts, almanacs, periodicals, literary manifests. This makes it a gold mine for art historians and literary scholars alike. Represented in it are more than 30 literary groups without which the history of twentieth-century Russian literature would have been very different. Among the groups included are the Ego-Futurists and Cubo-Futurists, the Imaginists, the Constructivists, the Biocosmists, and the infamous nichevoki - who, in their most radical manifestoes, professed complete abstinence from literary creation.
The collection also includes parodies and the works of imitators. Many books include marginalia of famous artists; different editions of the same book often have a different lay-out, and can even be illustrated by a different artist. For example, the hand written book of A.E. Kruchenykh and V.V. Khlebnikov has two editions. Both are illustrated by a famous artist: The first is illustrated by N.Goncharova, the second by O. Rozanova and K.Malevich. All of these editions are carefully selected and represented in this collection.

Richness and diversity
The collection embraces all major literary and artistic movements. The aims and aspirations of these movements diverge sharply: whereas the futurist manifestos express the aim of seeking forms which would go beyond rational expression; the constructivists state that their prime aim is to connect art with everyday life. However all of them had in common the search for new forms and are committed to experimentation, and the belief that the creative forces of their art could change the world.
The collection gives pride of place to the work of such famous Russian poets as Vladimir Maiakovskii, Velimir Khlebnikov, Igor Severianin, Sergei Esenin, Anatolii Mariengof, Ilia Selvinskii, Vladimir Shershenevich, David and Nikolai Burliuk, Alexei Kruchenykh, and Vasilii Kamenskii. However, it also includes relatively unknown poets whose work has never been republished, for example, Georgii Evangulov, Georgii Zolotukhin, Pavel Kokorin, Boris Pereleshin, and Aleksandr Iaroslavskii. The collection covers the period 1904-1946 and comprises materials published in Russia and abroad; most were published in Moscow, St. Petersburg, Odessa, Irkutsk, Vladivostok, Chita, Khar'kov, Kiev, Tiflis (Tbilisi), Baku, Berlin, Paris, New York and Harbin (China).

Revolution in the world of printing
It is commonly agreed that Russia's literary avant-garde introduced a totally different vocabulary and many new devices, but also introduced a new attitude towards the physical appearance of books and other printed materials. During the first three decades of the 20th century, artists did not regard books simply as vehicles for the conveyance of intellectual content, but also as objects of art in their own right. The eagerness of these artists to experiment with book printing and illustrations is amply demonstrated by the astounding richness of this collection.

Masterpieces of book design
Russian artists did not content themselves with just adding illustrations: They also experimented with the shape and size of books, and used alternative materials - such as cardboard or colored paper - to enhance a book's appearance. Apart from possessing great literary value, the publications of the Russian avant-garde can justifiably be regarded as masterpieces of typography and book design.

Current market value of Russian Avant-garde books
Most books in this collection cost thousands Dollars per book at the auction sales. At Howard Schickler Fine Art, New York Ei i mne and Dlia golosa from Vladimir Mayakovsky with illustrations of Rodchenko are offered for $ 8,500 and $ 5,500 respectively. At Sotheby's Zangezi from Khlebnikov is offered for £ 1,500. IDC Publishers is making available these works for just a fraction of these prices.

The National Library of Russia
The National Library of Russia is one of the world's largest libraries. Owing to the wealth and variety of its collections, the library ranks among such libraries as the Library of Congress and the British Library. The National Library of Russia occupies a special place in the history of Russian culture. Founded by the Enlightener Empress Catherine II with a dual purpose, "for a complete collection of Russian books" and "for general public usage". Today it stocks more then 32.8 million items, 6 million of which are written in foreign languages. The National Library of Russia is more than just a library: it is a cultural center with concert halls, information centers, and its own publishing house.


Edited by M. Schraven and M. Delbeke

Across all times and cultures, mankind has attached great importance to the foundation of buildings, cities and communities. By means of rituals of foundation, dedication and consecration, buildings and objects are charged with meaning. At the same time, these rituals bear witness of the way communities understand their own place in history, and how they position themselves in relation to others. As such, the study of these rituals deepens our understanding of society at large.
Bringing together contributions from art history, architectural history, historiography and history of law, this volume is the first comprehensive exploration of the manifold meanings of foundation, dedication and consecration in early modern culture, which combined a renewed interest in notions of origins, history and identity with an exceptionally rich production of artefacts.

Contributors include Piers Baker-Bates, Jorge Correia, Roger J. Crum, Maarten Delbeke, Alison C. Fleming, Dagmar Germonprez, Carmelina Gugliuzzo, Berthold Hub, Indra Kagis McEwen, Susan J. May, Brian J. Maxson, Anne-Françoise Morel, Almut Pollmer, Bernward Schmidt, Minou Schraven, Andrew Spicer, and Colin Wilder.


Rudolf M. Dekker

Based on analysis of a diary kept by Constantijn Huygens Jr, the secretary to Stadholder-King William of Orange, this book proposes a new explanation for the invention of the modern, private diary in the 17th century. At the same time it sketches a panoramic view of Europe at the time of the Glorious Revolution and the Nine Years' War, recorded by an eyewitness. The book includes chapters on such subjects as the changing perception of time, book collecting, Huygens's role as connoisseur of art, belief in magic and witchcraft, and gossip and sexuality at the court of William and Mary. Finally this study shows how modern scientific ideas, developed by Huygens's brother Christiaan Huygens, changed our way of looking at the world around us.

Waking the Face That No One Is

A Study in the Musical Context of Symbolist Poetics


Louis Marvick

Poetry and music have seldom been more closely associated than at the end of the nineteenth century, and the texts in which Baudelaire and Wagner, Mallarmé and Scriabin, Maeterlinck and Debussy evoked the reader’s and the listener’s states of mind are unusually rich in suggestion. Can poetry combine, as music seems to do, the transcendent satisfaction of an all-inclusive viewpoint with the excitement and uncertainty of an unfolding narrative? Can it partake of music’s power in order to give a face to the idea, and substitute, without disappointing, a definite variation for the ineffable theme? Symbolist writers intent on achieving musical effects in words looked for ways to overcome the hard division of subjects at the foundation of language, and the strategies they invented, while not always successful, show their supreme expectations concerning the receptive capability of their audience and an unqualified belief in the transforming power of their art.
Students of aesthetics, of French and comparative literature should find something of interest in this provocative and original book. For ease of reference, a detailed abstract of the contents is provided, along with English translations of all quotations in other languages.


Yui Suzuki

This profusely illustrated volume illuminates the primacy of icons in disseminating the worship of the Medicine Master Buddha (J: Yakushi Nyorai) in Japan. Suzuki’s meticulous study explicates how the devotional cult of Yakushi, one of the earliest Buddhist cults imported to Japan from the continent, interacted and blended with local beliefs, religious dispositions, and ritual practices over the centuries, developing its own distinctive imprint on Japanese soil. Worship of the Medicine Master Buddha became most influential during the Heian period (794–1185), when Yakushi’s popularity spread to different levels of society and locales outside the capital. The large number of Heian-period Yakushi statues found all across Japan demonstrates that Yakushi worship was an integral component of Heian religious practice.

Medicine Master Buddha focuses on the ninth-century Tendai master Saichō (767–822) and his personal reverence for a standing Yakushi icon. The author proposes that, after Saichō’s death, the Tendai school played a critical role in popularizing the cult of this particular icon as a way of memorializing its founding master and strengthening its position as a major school of Japanese Buddhism. This publication offers a fresh perspective on sculptural representations of the Medicine Master Buddha (including the famous Jingoji Yakushi), and in so doing, reconsiders Yakushi worship as foundational to Heian religious and artistic culture.

A. Bredius

or by EDOUARD IVIICHEL. Contrary to the theory stated by Mr. Renders in his book: "La Solution du probleme Van der Weyden-Flemalle-Campin", the writer of the above article holds to his belief in the existence of two distinct persons, viz. the Master of F16malle and Rogier van der Weyden, in the

Harry Schmidt

monatlichem Kostgeld und Pension fur das halbe Jahr, ist anzunehmen, dass der gesammte Betrag sich auf 60 Taler fur das halbe Jahr belief. 3) Der Ausdruck scheint zu bedeuten, dass das Gewand kein ganz prichtiges Galakleid, aber auch kein einfaches Gewand war, sondern ein Kleid, mit dem man zu Hofe gehen