Book contents
- The Cambridge World History of Violence
- The Cambridge History of Violence
- The Cambridge World History of Violence
- Copyright page
- Contents
- Figures and Table
- Contributors to Volume II
- Introduction to Volume II
- Part I Beyond Warfare: Armies, Tribes and Lords
- Part II The Violence of Governments and Rulers
- Part III Social, Interpersonal and Collective Violence
- Part IV Religious, Sacred and Ritualised Violence
- Part V Depictions of Violence
- 25 Obligation, Substitution and Order
- 26 Representations of Violence in Imperial China
- 27 Revealing the Manly Worth: Cut Flesh in the Heavenly Disorder of Medieval Japan
- 28 Picturing Violence in the Islamic Lands
- 29 Scenes of Violence in Arabic Literature
- 30 Violence Is the Name of the [Bad] Game: The Downside of Human Nature as Reflected in Medieval Literature
- 31 Violence and the Force of Representation in European Art
- Index
- References
28 - Picturing Violence in the Islamic Lands
from Part V - Depictions of Violence
Published online by Cambridge University Press: 13 March 2020
- The Cambridge World History of Violence
- The Cambridge History of Violence
- The Cambridge World History of Violence
- Copyright page
- Contents
- Figures and Table
- Contributors to Volume II
- Introduction to Volume II
- Part I Beyond Warfare: Armies, Tribes and Lords
- Part II The Violence of Governments and Rulers
- Part III Social, Interpersonal and Collective Violence
- Part IV Religious, Sacred and Ritualised Violence
- Part V Depictions of Violence
- 25 Obligation, Substitution and Order
- 26 Representations of Violence in Imperial China
- 27 Revealing the Manly Worth: Cut Flesh in the Heavenly Disorder of Medieval Japan
- 28 Picturing Violence in the Islamic Lands
- 29 Scenes of Violence in Arabic Literature
- 30 Violence Is the Name of the [Bad] Game: The Downside of Human Nature as Reflected in Medieval Literature
- 31 Violence and the Force of Representation in European Art
- Index
- References
Summary
This chapter explores the visual sources for violence and warfare created over the millennium from 500 to 1500 in the lands where Islam became a major presence. It divides the copious evidence into three chronological blocks (early, middle and late) to highlight the different visual sources that predominate in each period (architectural decoration, portable objects and illustrated manuscripts). The many scenes of violence depicted on these buildings and objects reflect the unsettled times and places where they were made and the constant occurrence of battles and warfare, some of it with sophisticated weaponry. But these vignettes of warfare and fighting also reflect a more positive view of violence, designed to invoke the prowess and heroism of the object’s owner. This triumphal theme extends to nature and the animal kingdom, as man dominates and tames the often-inhospitable landscape and the wild beasts in it. Many incidents also allude to the legendary and literary past, particularly in Iran, and metaphorically tie the object’s owner (and the viewer) to epic heroes. These many scenes of violence are thus multivalent and require decoding.
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- Information
- The Cambridge World History of Violence , pp. 576 - 600Publisher: Cambridge University PressPrint publication year: 2020