Christiane Gruber is Professor of Islamic Art in the History of Art Department at the University of Michigan as well as Founding Director of Khamseen: Islamic Art History Online. Her scholarship explores medieval to contemporary Islamic art, especially figural representation, depictions of the Prophet Muhammad, book arts, architecture, and visual and material cultures. Two recent publications include The Praiseworthy One: The Prophet Muhammad in Islamic Texts and Images (Indiana University Press, 2019) and The Image Debate: Figural Representation in Islam and Across the World (GINGKO, 2019).Bihter Esener is Lecturer of medieval Mediterranean and Islamic art in the History of Art Department at the University of Michigan. She is an art historian of the visual and material cultures of the medieval Islamic world, with a special interest in Armenian, Byzantine, and Persian-Islamic artistic exchange and cultural encounters in medieval Anatolia, the SouthCaucasus, and the Eastern Mediterranean. She is one of the founding members of Khamseen: Islamic Art History Online.Contributors: Dmitry Bondarev, Umberto Bongianino, Michael Chagnon, Farshid Emami, Annabel Teh Gallop, Yasemin Gencer, Lisa Golombek, Ulrich Marzolph, Corinne Mühlemann.

• 1. ISLAMIC ART IN THE THIRD MILLENNIUM: FROM REGIMES TO HORIZONS Christiane Gruber and Bihter Esener 62. MIGRATING MANUSCRIPT ART: THE 'SULAWESI DIASPORA GEOMETRIC' STYLE OF QUR'ANIC ILLUMINATION Annabel Teh Gall op 143. SHIFTING REGIMES, RESHAPING MANUSCRIPTS: THE DISAPPEARANCE OF ANNOTATED QUR'ANS IN BORNO Dmitry Bondarev 324. THE RE-ENDOWMENT OF ALMOHAD QUR'ANS UNDER THE EARLY MARINIDS (CA. 1250-1300 CE) Umberto Bongianino 485. THE WEAVER'S SIGNATURE? THE DIVISION OF LABOUR IN THE PRODUCTION OF LAMPAS WOVEN SILKS Corinne Mu hlemann 646. POINTS OF VISION: RECEPTION OF A LATE SAFAVID TILED ARCADE Lisa Golombek 807. INTERPRETING A LATER SAFAVID VASE: BETWEEN MATERIAL, OBJECT AND IMAGE Michael Chagnon 968. SENSING TIME AND SOUND IN SAFAVID ISFAHAN: THE CLOCKS OF THE MAYDAN-I NAQSH-I JAHAN Farshid Emami 1109. LITHOGRAPHY AND ITS IMPACT ON THE ART OF ILLUSTRATION IN IRAN Ulrich Marzolph 12810. MUSTAFA KEMAL, PHOTOGRAPHY AND IMAGE IN 1920S TURKISH MEDIA Yasemin Gencer 144AUTHOR BIOGRAPHIES 160

‘The articles in this handsome volume reflect the broad range of research interests, issues and methodologies pursued within the Historians of Islamic Art Association community and highlight current, innovative developments in the study of Islamic material culture and the visual arts. In the aggregate they also offer multiple perspectives on the concept of ‘regime change’: historical, typological, technological, and— most intriguingly—metaphorical and symbolic.’Dr. Marianna Shreve Simpson, Past President (2011‒13), Historians of Islamic Art Association ‘The articles in this volume amply fulfil the promise of its title. They exemplify the recent expansion of Islamic art into previously underresearched areas such as southeast Asia and sub-Saharan Africa, as well as the conceptual exploration of new fields of sensory and auditory matters, and temporal extension into the twentieth century. The shift to looser definitional boundaries is much to be welcomed.’Prof. Bernard O’Kane, The American University in Cairo

Christiane Gruber is Professor of Islamic Art in the History of Art Department at the University of Michigan as well as Founding Director of Khamseen: Islamic Art History Online. Her scholarship explores medieval to contemporary Islamic art, especially figural representation, depictions of the Prophet Muhammad, book arts, architecture, and visual and material cultures. Two recent publications include The Praiseworthy One: The Prophet Muhammad in Islamic Texts and Images (Indiana University Press, 2019) and The Image Debate: Figural Representation in Islam and Across the World (GINGKO, 2019).Bihter Esener is Lecturer of medieval Mediterranean and Islamic art in the History of Art Department at the University of Michigan. She is an art historian of the visual and material cultures of the medieval Islamic world, with a special interest in Armenian, Byzantine, and Persian-Islamic artistic exchange and cultural encounters in medieval Anatolia, the SouthCaucasus, and the Eastern Mediterranean. She is one of the founding members of Khamseen: Islamic Art History Online.Contributors: Dmitry Bondarev, Umberto Bongianino, Michael Chagnon, Farshid Emami, Annabel Teh Gallop, Yasemin Gencer, Lisa Golombek, Ulrich Marzolph, Corinne Mühlemann.

• 1. ISLAMIC ART IN THE THIRD MILLENNIUM: FROM REGIMES TO HORIZONS Christiane Gruber and Bihter Esener 62. MIGRATING MANUSCRIPT ART: THE 'SULAWESI DIASPORA GEOMETRIC' STYLE OF QUR'ANIC ILLUMINATION Annabel Teh Gall op 143. SHIFTING REGIMES, RESHAPING MANUSCRIPTS: THE DISAPPEARANCE OF ANNOTATED QUR'ANS IN BORNO Dmitry Bondarev 324. THE RE-ENDOWMENT OF ALMOHAD QUR'ANS UNDER THE EARLY MARINIDS (CA. 1250-1300 CE) Umberto Bongianino 485. THE WEAVER'S SIGNATURE? THE DIVISION OF LABOUR IN THE PRODUCTION OF LAMPAS WOVEN SILKS Corinne Mu hlemann 646. POINTS OF VISION: RECEPTION OF A LATE SAFAVID TILED ARCADE Lisa Golombek 807. INTERPRETING A LATER SAFAVID VASE: BETWEEN MATERIAL, OBJECT AND IMAGE Michael Chagnon 968. SENSING TIME AND SOUND IN SAFAVID ISFAHAN: THE CLOCKS OF THE MAYDAN-I NAQSH-I JAHAN Farshid Emami 1109. LITHOGRAPHY AND ITS IMPACT ON THE ART OF ILLUSTRATION IN IRAN Ulrich Marzolph 12810. MUSTAFA KEMAL, PHOTOGRAPHY AND IMAGE IN 1920S TURKISH MEDIA Yasemin Gencer 144AUTHOR BIOGRAPHIES 160

‘The articles in this handsome volume reflect the broad range of research interests, issues and methodologies pursued within the Historians of Islamic Art Association community and highlight current, innovative developments in the study of Islamic material culture and the visual arts. In the aggregate they also offer multiple perspectives on the concept of ‘regime change’: historical, typological, technological, and— most intriguingly—metaphorical and symbolic.’Dr. Marianna Shreve Simpson, Past President (2011‒13), Historians of Islamic Art Association ‘The articles in this volume amply fulfil the promise of its title. They exemplify the recent expansion of Islamic art into previously underresearched areas such as southeast Asia and sub-Saharan Africa, as well as the conceptual exploration of new fields of sensory and auditory matters, and temporal extension into the twentieth century. The shift to looser definitional boundaries is much to be welcomed.’Prof. Bernard O’Kane, The American University in Cairo

Christiane Gruber is Professor of Islamic Art in the History of Art Department at the University of Michigan as well as Founding Director of Khamseen: Islamic Art History Online. Her scholarship explores medieval to contemporary Islamic art, especially figural representation, depictions of the Prophet Muhammad, book arts, architecture, and visual and material cultures. Two recent publications include The Praiseworthy One: The Prophet Muhammad in Islamic Texts and Images (Indiana University Press, 2019) and The Image Debate: Figural Representation in Islam and Across the World (GINGKO, 2019).Bihter Esener is Lecturer of medieval Mediterranean and Islamic art in the History of Art Department at the University of Michigan. She is an art historian of the visual and material cultures of the medieval Islamic world, with a special interest in Armenian, Byzantine, and Persian-Islamic artistic exchange and cultural encounters in medieval Anatolia, the SouthCaucasus, and the Eastern Mediterranean. She is one of the founding members of Khamseen: Islamic Art History Online.Contributors: Dmitry Bondarev, Umberto Bongianino, Michael Chagnon, Farshid Emami, Annabel Teh Gallop, Yasemin Gencer, Lisa Golombek, Ulrich Marzolph, Corinne Mühlemann.

• 1. ISLAMIC ART IN THE THIRD MILLENNIUM: FROM REGIMES TO HORIZONS Christiane Gruber and Bihter Esener 62. MIGRATING MANUSCRIPT ART: THE 'SULAWESI DIASPORA GEOMETRIC' STYLE OF QUR'ANIC ILLUMINATION Annabel Teh Gall op 143. SHIFTING REGIMES, RESHAPING MANUSCRIPTS: THE DISAPPEARANCE OF ANNOTATED QUR'ANS IN BORNO Dmitry Bondarev 324. THE RE-ENDOWMENT OF ALMOHAD QUR'ANS UNDER THE EARLY MARINIDS (CA. 1250-1300 CE) Umberto Bongianino 485. THE WEAVER'S SIGNATURE? THE DIVISION OF LABOUR IN THE PRODUCTION OF LAMPAS WOVEN SILKS Corinne Mu hlemann 646. POINTS OF VISION: RECEPTION OF A LATE SAFAVID TILED ARCADE Lisa Golombek 807. INTERPRETING A LATER SAFAVID VASE: BETWEEN MATERIAL, OBJECT AND IMAGE Michael Chagnon 968. SENSING TIME AND SOUND IN SAFAVID ISFAHAN: THE CLOCKS OF THE MAYDAN-I NAQSH-I JAHAN Farshid Emami 1109. LITHOGRAPHY AND ITS IMPACT ON THE ART OF ILLUSTRATION IN IRAN Ulrich Marzolph 12810. MUSTAFA KEMAL, PHOTOGRAPHY AND IMAGE IN 1920S TURKISH MEDIA Yasemin Gencer 144AUTHOR BIOGRAPHIES 160

‘The articles in this handsome volume reflect the broad range of research interests, issues and methodologies pursued within the Historians of Islamic Art Association community and highlight current, innovative developments in the study of Islamic material culture and the visual arts. In the aggregate they also offer multiple perspectives on the concept of ‘regime change’: historical, typological, technological, and— most intriguingly—metaphorical and symbolic.’Dr. Marianna Shreve Simpson, Past President (2011‒13), Historians of Islamic Art Association ‘The articles in this volume amply fulfil the promise of its title. They exemplify the recent expansion of Islamic art into previously underresearched areas such as southeast Asia and sub-Saharan Africa, as well as the conceptual exploration of new fields of sensory and auditory matters, and temporal extension into the twentieth century. The shift to looser definitional boundaries is much to be welcomed.’Prof. Bernard O’Kane, The American University in Cairo