Idries Trevathan is a curator and conservator with more than a decade's experience working with Islamic art collections in the Muslim world and beyond, including the Islamic Arts Museum in Malaysia. Treyathan works regularly on conservation projects and has conducted technical and aesthetic colour studies on a range of Islamic art objects, including the Malay Qur'an manuscripts, Damascene reception rooms and Ottoman porticoes in the grand mosque in Mecca. Trevathan trained as an art conservator at the City & Guilds of London Art School and earned a PhD in colour in Islamic art from the Prince's Foundation School of Traditional Arts, London. His achievements have been recognised by numerous awards, including the National Association of Decorative and Fine Arts Societies Prize for Research, the Hamad bin Khalifa Scholarship, the Zibby Garnett Fellowship and the Knights of the Round Table Award.
INTRODUCTION
Scope versus limitations
Chapter outline
CHAPTER ONE. CONTEXTUAL REVIEW
Art Historical Approach
Perennialism and the Symbolism of colour
Aesthetics and new directions in Islamic art history
Summary of Contextual Review
CHAPTER TWO. THE WORK OF ART: MASJID-I SHAH
Brief Review of Current Conceptions of the Safavid Context
The Building Project: Transformation of Isfahan and the Maydan
The Building Itself: Masjid-i Shah and Its Decoration
The Building: Personalities, the Architects, Engineers and Planners
Colour in the Building: Haft Rang (Seven Colours)
CHAPTER THREE. COLOUR SYSTEMS
Colour in the Qur'an
Implicit and Explicit Colours in the Qur'an
Qur'an, Colour and Interpretation
Colour Theory
Colour Mixtures in Contemporary Texts
A Value Based Colour System: Recent Scholarship
CHAPTER FOUR. THE AESTHETICS OF COLOUR
The "Quantitative" Aesthetics of Proportion
The "Qualitative" Aesthetics of Light and Colour
The Contemplative Gaze
Summary and Conclusions
CHAPTER FIVE. LIGHT, LUSTRE AND LUMINOSITY
Descriptions of Colour and Light: Reception of Materials
The Peacock's Plumage and the Colours of Abu Qalamun
Pearls, Precious Stones and Light
Dark and Light: Marble, Onyx, and Alabaster in Buildings
Materials, Light, Colour and Perception
Colour, Light and Wonder
Creating Sensations of Light
Artists, Materials, Wonder and Transformations
Summary and conclusion
CHAPTER SIX. COLOUR AND THE JOURNEY OF THE MYSTIC
Colour Theophany and Emanationism
Colour and the Process of Transformation
The Kubrawiyya Order and the Hermeneutic of Colour
Nizami and the Haft Paykar
Summary and conclusion
CHAPTER SEVEN. COLOUR AND SPIRITUALITY AT THE TIME OF THE SAFAVIDS
Development of the School of Isfahan and the Safavid Understanding of
Colour
Sheikh Baha'i: Chief Architect of the Masjid-i Shah, Founder of the School
of Isfahan
The Influence of Suhrawardi and Hikmat al Ishraq
Mir Damad and the Revival of Hikmat at the School of Isfahan
Mulla Sadra and the 'Imaginal world'
"The World of the Imagination" and Art and Colour
Artists and the Subtle World
Kirmani and a "Phenomenology of Colour"
Kirmani and Seven Colours (Haft rang)
Summary and conclusion
CONCLUSION
Masjid-i Shah Revisited
Al-Haytham's Visual Perception and the Masjid-i Shah
Awe, Colour, Light and Luminosity
Colour, Light, Lustre, and Pattern
Colour in Operation: The Continuing Process of Perception
Reconsidering Materials: Paying Attention to Materials and Associations
Depicting the Transcendent: 'alam al-Mithal
Methodology
Areas for Further Development
Final Thoughts
BIBLIOGRAPHY
