Here are 100 books that Photos of the Gods fans have personally recommended if you like
Photos of the Gods.
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I’m a scholar who has spent most of his working life looking at the history of North Africa. This passion was formerly directed toward looking at the conditions that Europeans imposed on local populations, but in recent times, I have moved solely to consider forgotten cultures made by indigenous Muslim and Jewish populations. Making this move has been the best, riskiest, and most rewarding choice I’ve ever made in my career, and I am now a cheerleader for the incredible forms of art made by ordinary people in these societies.
This is a book that changed my sense as to what we could know of the past. Its unlocking of the “secret” or lost religious codes of Persian miniature painting has proved utterly game-changing in the field of Islamic art.
I love it for the incredible beauty of its argumentation, as well as the gorgeousness of its close readings of medieval illuminated painting.
In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzad, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzad became the undisputed master of the "Persian miniature" and an almost mythical personality throughout Asian Islam. By…
I’m a scholar who has spent most of his working life looking at the history of North Africa. This passion was formerly directed toward looking at the conditions that Europeans imposed on local populations, but in recent times, I have moved solely to consider forgotten cultures made by indigenous Muslim and Jewish populations. Making this move has been the best, riskiest, and most rewarding choice I’ve ever made in my career, and I am now a cheerleader for the incredible forms of art made by ordinary people in these societies.
Have you ever read a book about a place which then allowed you to see that location in utterly new and thrilling ways?
As well as being a great study of a wonderful artistic culture, this is, for me, one of the greatest studies of a city and the place of its people, their beliefs, and their art in making it unique.
If that was not enough, it also constitutes one of the most important bodies of conceptual and theoretical thinking about the nature and character of Islamic art.
"A Saint in the City" examines the elaborate visual culture of the Mourides, a Senegalese Sufi movement based upon the mystical teachings of Sheikh Amadou Bamba (1953-1927). In the boldly visual city of Dakar, images abound despite the fact that Senegal is largely a Muslim country. Vibrant street murals, calligraphy and calligrams, didactic posters, drawings that protect and heal, advertising images, colourful clothing, Web sites, intricate glass paintings, and innovative architecture all attest to the transformative potency that expressive culture has for Mourides. One image is ubiquitous throughout urban Senegal: the portrait of Sheikh Amadou Bamba, based upon a colonial…
I’m a scholar who has spent most of his working life looking at the history of North Africa. This passion was formerly directed toward looking at the conditions that Europeans imposed on local populations, but in recent times, I have moved solely to consider forgotten cultures made by indigenous Muslim and Jewish populations. Making this move has been the best, riskiest, and most rewarding choice I’ve ever made in my career, and I am now a cheerleader for the incredible forms of art made by ordinary people in these societies.
This was the book that convinced me that it is worthwhile exploring the past so as to rediscover and rethink works of art made by indigenous people living under imperial conditions.
I love its movement around the world, the close readings of works that no other scholars had ever considered, and the moral urgency that underpins every one of its lines.
It is often assumed that the verbal and visual languages of Indigenous people had little influence upon the classification of scientific, legal, and artistic objects in the metropolises and museums of nineteenth-century colonial powers. However colonized locals did more than merely collect material for interested colonizers. In developing the concept of anachronism for the analysis of colonial material this book writes the complex biographies for five key objects that exemplify, embody, and refract the tensions of nineteenth-century history. Through an analysis of particular language notations and drawings hidden in colonial documents and a reexamination of cross-cultural communication, the book writes…
I’m a scholar who has spent most of his working life looking at the history of North Africa. This passion was formerly directed toward looking at the conditions that Europeans imposed on local populations, but in recent times, I have moved solely to consider forgotten cultures made by indigenous Muslim and Jewish populations. Making this move has been the best, riskiest, and most rewarding choice I’ve ever made in my career, and I am now a cheerleader for the incredible forms of art made by ordinary people in these societies.
I love this book (and think you will too) because of the way in which it weaves together architectural, art, social, and religious history so as to tell the story of one of the greatest cities in the Islamic world: Isfahan.
Its beautiful illustrations take readers to a place that many will not have a chance to visit while connecting the beauty of its built environment to cultures that come before and after the Safavid moment.
Its author is THE guide to the topic, and gaining a sense of the history of built environments is of critical importance for anyone interested in the history of Islamic art.
Winner of the Houshang Pourshariati Iranian Studies Book Award 2009 This beautifully illustrated history of Safavid Isfahan (1501-1722) explores the architectural and urban forms and networks of socio-cultural action that reflected a distinctly early-modern and Perso-Shi'i practice of kingship. An immense building campaign, initiated in 1590-91 at the millennial threshold of the Islamic calendar (1000 A.H.), transformed Isfahan from a provincial, medieval, and largely Sunni city into an urban-centered representation of the first Imami Shi'i empire in the history of Islam. The historical process of Shi'ification of Safavid Iran and the deployment of the arts in situating the shifts in…
I'm a writer, lecturer, biologist, ecologist, and two-time Fulbright Scholar (to India and Malaysia). I'm now a fiction writer, but I’ve always been a storyteller who writes in a historical framework. While I feel an almost compulsive obligation to keep faith with the facts, my main objective is to tell a story—as dramatically, suspensefully, and entertainingly as I can. My first non-fiction book, Papyrus: the Plant that Changed the World was featured as a clue on Jeopardy. It tells the story of a plant that still evokes the mysteries of the ancient world.My most recent book, The Pharaoh's Treasure is about the origin of paper and the rise of Western civilization.
Müller takes up the story of the Kingdom of Paper by illustrating that the Kingdom was still firmly in place by 1932 when paper was omnipresent and indispensable in and for modern civilization.
He focuses on paper as more than just a writing surface, especially on its physical, material form, as a product of civilization, something which does not occur naturally in the world but instead requires a technology to produce. This leads him into the great boom in Western paper mills and the realization that we are after all still living in what Marshall McLuhan called the “Gutenberg era” which was made possible by paper.
Müller further notes how in 1997, faced with what seemed like the extinction of the Kingdom of Paper in the face of the Internet, the world found out that paper continues to have a massive presence in modern civilization even after the explosion of…
Paper is older than the printing press, and even in its unprinted state it was the great network medium behind the emergence of modern civilization. In the shape of bills, banknotes and accounting books it was indispensible to the economy. As forms and files it was essential to bureaucracy. As letters it became the setting for the invention of the modern soul, and as newsprint it became a stage for politics.
In this brilliant new book Lothar Muller describes how paper made its way from China through the Arab world to Europe, where it permeated everyday life in a variety…
I am a retired federal constitutional law professor, the former Fredric C. Tausend Professor of Constitutional Law at Seattle University Law School. Moreover, I am the coauthor of more than ten books, most of them focusing on First Amendment free speech topics. Often, I wrote at the intersection of popular culture and free speech rights. My booklist reflects my passion for books about the history, purposes, and practices of freedom of speech, particularly as it is exercised in the United States.
Like most people alive today, I am an avid user of the Internet and am aware of the astounding changes that electronic media have made to communication. With the rise of social media and AI, I am increasingly aware of the profound effects that these media already have and will have on society in general. However, I lived in the print age without specifically focusing on the socio-economic and political changes that the printing press advanced.
I love Eisenstein’s book because it brilliantly portrays the astounding global and cultural aftermath of the Gutenberg invention.
Originally published in two volumes in 1980, The Printing Press as an Agent of Change is now issued in a paperback edition containing both volumes. The work is a full-scale historical treatment of the advent of printing and its importance as an agent of change. Professor Eisenstein begins by examining the general implications of the shift from script to print, and goes on to examine its part in three of the major movements of early modern times - the Renaissance, the Reformation, and the rise of modern science.
What I love about Christmas is that it’s the time of the year when anything feels possible. Need a miracle? Then close your eyes and make a wish. Who knows, it might just come true. Christmas is the time when we go above and beyond, when we dare to take risks. Maybe it’s because at Christmastime we take stock of what we value most in our lives…and if something is missing, then maybe it’s time to fight for it. Christmas romances are my addiction of choice. Everything matters more at Christmas, and that makes a Christmas romance all that’s best of what’s merry and bright.
This book has everything I love in a Christmas romance—a delightfully competent heroine, a deliciously grumpy hero, a cast of eccentric characters, and themes of found family and healing.
Holly, a widow, takes a housesitting job during the holidays at a remote house on the Lancashire moors. But then people keep arriving, and Holly finds herself being guilt tripped into hosting Christmas. When Jude, the owner, is forced to return home, blizzards hit, and they’re all snowed in.
I felt for Holly and Jude who both had good reasons to avoid Christmas, but beneath their prickly exteriors they’re kind, big-hearted characters. It was a joy to see them rediscover the joy of the season. In turn hilarious and emotional, this is a big warm hug of a book.
Trisha's bestselling Christmas book will have you hooked from start to finish - the perfect read as those cold winter nights draw in.
Christmas has always been a sad time for young widow Holly Brown. So when she's asked to look after a remote house on the Lancashire moors, the opportunity to hide herself away is irresistible - the perfect excuse to forget about the festivities.
The owner of the house, Jude Martland, is also avoiding Christmas since the last one saw his brother run off with his fiancee. But forced to return home unexpectedly, Jude arrives to find that…
When I was young, my passions were flying and art. I became a pilot at age 17. Later, I became an architect, and much later, in 2000, I decided to become a fine art photographer. After ten years of shooting from the ground, I decided to take to the air again and began shooting aerial photographs, primarily of cities. I now have three aerial books published: LA NY, Thames & Hudson, Paris From the Air, Rizzoli, and London From the Air, Rizzoli. My aerial photographs are exhibited and collected throughout the world.
I love the huge size (12.5”x17”) and gorgeous printing of this book.
Of course, the photos are amazing. This book was published by Abrams during the years when they were known for their exquisite art books. There are not many publishers who would put out a book like this today, including Abrams. The photos of New York City in this book are the work of a photo genius.
I get immense pleasure holding this book and going through the pages which show all of New York in beautiful late sun and night light, and so large you can feel like you are right there.
Aerial photographs of the famous landmarks, historic buildings, and local neighborhoods of New York provide a birds-eye-view of one of America's major cities
I have for over fifty years studied and written about the Indian nationalist movement, examining it from many different angles. I lived and worked for many years in India. I have throughout had an appreciative but often troubled relationship with Gandhi – admiring him for much of what he stood for, while finding it hard to accept many of his beliefs and actions. This will be apparent to anyone reading the books that I have written. Despite this, I have a deep respect for a man who was undoubtedly a towering figure in twentieth-century history.
Tidrick explores with much insight the influences on Gandhi that shaped his spiritual and political life, ranging from the vegetarian movement, theosophy, esoteric Christianity, nineteenth-century authors and thinkers such as Ruskin, Thoreau, and Tolstoy, along with his sometimes-eccentric understanding of Hinduism. She shows how he saw his mission as divinely-inspired, and his belief that – so long as he upheld his ‘truth’ with rigour – he would have the power to change the world. Gandhi had at times his doubts as to his purity and thus his abilities in this respect, leading him into some ‘experiments’ that could disturb his close followers, as when he sought to test his chastity. In this book, Tidrick reveals Gandhi’s idiosyncrasies in illuminating ways.
Throughout his long and turbulent career as an Indian leader, first in South Africa and then in India, Gandhi sought to fulfill his religious aspirations through politics, and to reconcile politics with his private religious discipline. The Gandhi revealed here is not the secular saint of popular renown, but a difficult and self-obsessed man driven by a sense of unique personal destiny. Penetrating and provocative, Tidrick draws on material previously ignored by Gandhi's biographers and explores the paradoxes within his life and beliefs. Did the nationalist leader truly believe that he was not just fighting for Indian independence but also…
About thirty years ago, I spent three months on an Indo-American Fellowship in Varanasi taking notes on daily life in this holy city where my novel Sister India is set. That winter felt like a separate life within my life, a bonus. Because all there was so new to me, and it was unmediated by cars, television, or computers, I felt while I was there so much more in touch with the physical world, what in any given moment I could see, hear, smell…. It was the way I had felt as a child, knowing close-up particular trees and shrubs, the pattern of cracks in a sidewalk.
The sensory quality of stories of India is inevitable because the country itself is so vividly alive to all the senses. And Hinduism, the predominant religion, is, more than other religions, expressed in physical images and rituals. Suri’s novel treats motherhood in particular in finely observed physical detail, conveying the emotions so well through the senses. A reader irresistibly immerses in the story.
The Age of Shiva is at once a powerful story of a country in turmoil and an "unflinchingly honest" portrait of maternal love-"intricately interwoven with the ancient rites and myths" (Booklist) crucial to India's history. Meera, the narrator, is seventeen years old when she catches her first glimpse of Dev, performing a song so infused with passion that it arouses in her the first flush of erotic longing. She wonders if she can steal him away from Roopa, her older, more beautiful sister, who has brought her along to see him. It is only when her son is born that…
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