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Lara G Tohme

Bio: Lara G Tohme is an academic researcher. The author has contributed to research in topics: Context (language use). The author has an hindex of 1, co-authored 1 publications receiving 21 citations.

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Dissertation
01 Jan 2005
TL;DR: Rabbat et al. as discussed by the authors explored the relationship between the art and architecture of the early Islamic period to those of pre-Islamic Bilad al-Sham (the region encompassing the modem-day countries of Syria, Jordan, Lebanon, Palestine and Israel), and focused on the Umayyad bathhouse as a paradigm through which this relationship is articulated.
Abstract: This dissertation explores the relationship between the art and architecture of the early Islamic period to those of pre-Islamic Bilad al-Sham (the region encompassing the modem-day countries of Syria, Jordan, Lebanon, Palestine and Israel), and focuses on the Umayyad bathhouse as a paradigm through which this relationship is articulated. The visual culture of the Umayyad dynasty (661-750CE) is of extreme importance, not only because it constitutes the foundation of Islamic art and architecture, but more importantly because it serves as the main link in the chain of cultural transmission from the GrecoRoman and Byzantine worlds to the Medieval Islamic world. The first section of this dissertation explores the ways in which this relationship has been studied as well as the nature of the primary sources, and suggests a new method of how best to study and understand Umayyad art and architecture and their relationship to precedent and contemporaneous cultures. The second section examines the cultural, architectural and political changes in Bilad al-Sham between the fourth and eighth centuries CE, and how the events of these four centuries shaped the art, architecture and culture of the Umayyads. The third and fourth sections concentrate on transformation of the shape and function of the bathhouse in late antiquity, and how the bathhouse was adapted to fit the needs of both pre-Islamic and Islamic late antique cultures in this region. This study concludes by suggesting that Umayyad architecture and culture can best be understood only when interpreted as part of the rich regional and cultural milieu of late antique Bilad al-Sham. Thesis Supervisor: Nasser Rabbat Title: Associate Professor of the History of Architecture Aga Khan Professor in the History of Islamic Architecture

21 citations


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Journal ArticleDOI
TL;DR: In this paper, the government and the people in Byzantine Ephesus were discussed, from Diocletian to Heraclius, public works and public services, Pagans, Christians and Jews.
Abstract: Preface Part I. Late Antique Ephesus: 1. From Diocletian to Heraclius 2. The government and the people 3. Public works and public services 4. Pagans, Christians and Jews 5. The material remains 6. Ephesus in Late Antiquity Part II. Byzantine Ephesus: 7. The Dark Ages 8. Medieval recovery c. 850-1304 Part III. Turkish Ephesus: 9. The emirate of Aydin: 1304-1425 10. The Ottoman period: 1425-1863 Appendices Short titles and abbreviations Bibliography Index.

153 citations

Journal ArticleDOI
TL;DR: Baths and bathing in Classical Antiquity as discussed by the authors is a well-known topic in the field of new book reviews and reviews of new books, especially in the area of history.
Abstract: (1994). Baths and Bathing in Classical Antiquity. History: Reviews of New Books: Vol. 22, No. 3, pp. 136-137.

92 citations

Journal Article
TL;DR: For instance, the authors defines Islamic art as "the art made by artists or artisans whose religion was Islam, for patrons who lived in predominantly Muslim lands, or for purposes that are re-stricted or peculiar to a Muslim population or a Muslim setting."
Abstract: When we started studying Islamic art some thirty years ago, there were no good introductory textbooks that undergrad¬uates could read. When we started teaching the subject nearly a decade later, there were still none, and we had to make do with stacks of photocopied articles and chapters assigned from one book or another in an attempt to present students with a coherent narrative. So little survey material existed that even graduate students had difficulty getting a grasp on the whole field and had to resort to obscure and uneven publi¬cations. For example, K.A.C. Creswell's massive tomes im¬plied that Islamic architecture ended in 900 C.E. except in Egypt, where it suddenly stopped four hundred years later in the middle of the Bahri Mamluk period, although the Mam-luk sequence of sultans persisted until 1517 and there was ample evidence for a glorious tradition of Islamic architec¬ture in many lands besides Egypt.1 The venerable Survey of Persian Art, originally published in five massive volumes in the 1930s, continued to define that field although many of the chapters were woefully out of date when the series was re¬printed, faute de mieux, in the 1970s.2 In short, despite the exponential growth of interest in the Islamic lands generated by the oil boom and crisis of the 1970s, Islamic art remained a rather esoteric specialty field taught in a few elite institu¬tions.Today the situation could not be more different. Courses in Islamic art are regularly offered at dozens of colleges and universities in North America, and many university depart¬ments of art history mint doctoral candidates in the specialty. General art history survey books and courses, though still heavily Western and chronological in orientation, often in¬clude one or two chapters or lectures on Islamic art, awk¬wardly inserted somewhere between the periods of late an¬tiquity and early medieval and the geographically defined fields of India, China, and Japan. There are now several introductory texts devoted exclusively to Islamic art, and specialist books and articles proliferate to such a degree that scholars and graduate students cannot possibly keep up with everything published in the field. It is, perhaps, a measure of the popularity of Islamic art that the Pelican History7 of Art volume on the subject, commissioned in the 1950s and pub¬lished in 1987, has already been reissued in a new and expanded edition.3 The horrific events of September 11, 2001, have only increased public curiosity for all things con¬nected to Islam, art included.As the course listings, survey texts, and specialists' articles on Islamic art proliferate, scholars of the subject have put the fundamental definition of their field under close scrutiny. From the vantage point of the early twenty-first century of the Common Era (or the early fifteenth century after Muham¬mad emigrated with a small company of believers from Mecca to Medina), we may now ask: What exactly is Islamic art? How well does this category serve the understanding of the mate- rial? Does a religiously based classification serve us better than geographic or linguistic ones, like those used for much of European art? To begin to answer these questions, we must first review how the subject is defined, how it got to be that way, and how it has been studied.4The Definition and Historiography of Islamic ArtIslamic art is generally held to be "the art made by artists or artisans whose religion was Islam, for patrons who lived in predominantly Muslim lands, or for purposes that are re¬stricted or peculiar to a Muslim population or a Muslim setting."5 It therefore encompasses much, if not most, of the art produced over fourteen centuries in the "Islamic lands," usually defined as the arid belt covering much of West Asia but stretching from the Atlantic coast of North Africa and Spain on the west to the steppes of Central Asia and the Indian Ocean on the east. These were the lands where Islam spread during the initial conquests in the seventh and eighth centuries C. …

17 citations