[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-37362-en":3,"doc-seo-37362-105":29,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},37362,3848291630094,"Emma Wilson","https://eur-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45",2,"Literature","Stealing From the Saracens: How Islamic Architecture Shaped Europe","An exploration of how medieval and early modern European architecture was shaped by Islamic and “Saracenic” influences. Grounded in the rebuilding crisis and cultural reverberations after the 15 April 2019 Notre-Dame fire, the work argues that reconstructing monuments “exactly as before” risks erasing their essential energy and imperfections. From Gothic and pre-Islamic inheritance to the Umayyads, Andalusia, the Abbasids and Fatimids, and later Ottoman and revival styles, it traces channels of artistic transmission that helped form Europe’s architectural language.","STEALING FROM THE SARACENS  \nDIAN A D ARK E  \nSTEALING  \nFROM THE  \nSARACENS  \nHow Islamic Architecture Shaped Europe  \nHURST & COMPANY, LONDON  \nFirst published in the United Kingdom in 2020 by  \nC. Hurst & Co. (Publishers) Ltd. ,  \n41 Great Russell Street, London,WC1B 3PL © Diana Darke, 2020  \nAll rights reserved.  \nThe right of Diana Darke to be identified as the author of this publication is asserted by her in accordance with the Copyright, Designs and Patents Act, 1988.  \nDistributed in the United States, Canada and LatinAmerica by Oxford University Press, 198 Madison Avenue, NewYork, NY 10016, United States of America.  \nA Cataloguing-in-Publication data record for this book is available from the British Library.  \nISBN: 9781787383050  \nThis book is printed using paper from registered sustainable and managed sources.  \n[www.hurstpublishers.com](www.hurstpublishers.com)  \nCONTENTS  \nPreface vii  \nIntroduction 1  \n1. Christopher Wren:The Arch-Synthesiser 9  \n2. Gothic Architecture: ‘The Saracen Style’ 31  \n3. The Pre-Islamic Inheritance: Pagan and Early Christian Architecture  \nin Syria 61  \n4. The First Islamic Empire:The Umayyads in Syria (661–750) 97  \n5. Andalusia:The Umayyads in Spain (756–1492) 155  \n6. The Abbasid and Fatimid Caliphates (750–1258) 197  \n7. Gateways to Europe (800–1400) 225  \n8. The Seljuks, the Ottomans and Sinan (1075–1924) 277  \n9. The Revivals: Neo-Gothic, Neo-Saracenic, Neo-Moorish  \n(1717–2026) 309  \n10. Iconic Buildings of Europe:A Gallery of Images with Key Influences 341  \nConclusion 381  \nAcknowledgements 391  \nGlossary 395  \nNotes 403  \nList of Illustrations and Figures 425  \nBibliography 443  \nIndex 451  \nPREF A CE  \nThis book is dedicated to Notre-Dame.The catastrophic fire of 15 April 2019 was also the spark that ignited this book, once I saw how little the cathedral’s architectural backstory was understood. I want to acknowledge the genius of Notre-Dame’s medieval architects and masons, whose painstaking and devoted labours over the course of two centuries produced a prodigious organic structure which lived and breathed the history of France, its revolution, the coronation of Napoleon I, and the funerals of many presidents. It became an eternal resident of the city, a spiritual core, a comforting presence—its immortality, perhaps, taken for granted.  \nAs today’s engineers struggle to stabilise the structure, the magnitude of the task ahead is becoming clear. The French parliament has passed a law requiring the cathedral to be rebuilt exactly as it was, but therein lies the challenge. President Macron’s vow to reconstruct in five years is way off the mark. Ten is more realistic, probably longer. An estimated 1,300 oaks were felled to build the cathedral, but France no longer has trees of the same size and maturity. Even beyond the issues inherent in replicating the ancient materials, there is another, infinitely more complex problem. How can we recreate, in our computer-driven age of precision planning, the building’s original energy and force? Guided by instincts honed through generations of experience and passed down from master to apprentice, the builders left no records. Nothing was written down beyond a few unscaled drawings.  \nPREFACE  \nThe danger is that, in our rush to reconstruct Notre-Dame ‘exactly as it was’ with the aid of our digital devices, we may end up losing the building’s very soul, unwittingly expunging the subtle imperfections that are integral to its essence and identity.  \nThese are the mysteries which lie at the heart of medieval Gothic or‘Saracenic’ architecture, the origins of which this book seeks to unravel. Asthe dark shadow of the 2020 Coronavirus pandemic forces us to confront new uncertainties, one likely outcome—even in those who profess no faith—is the rediscovery of religious architecture and its power to calm and heal. May the future Notre-Dame remain forever true to the spirit of those mysteries.  \nINTR OD UCTION  \nThis book has risen from the ashes ","cbCaioS3OkWeH5ZP","https://ap.wps.com/l/cbCaioS3OkWeH5ZP","pdf",42385306,1,483,"English","en",105,"# Contents\n## Preface\n## Introduction\n## Christopher Wren: The Arch-Synthesiser\n## Gothic Architecture: ‘The Saracen Style’\n## The Pre-Islamic Inheritance: Pagan and Early Christian Architecture in Syria\n## The First Islamic Empire: The Umayyads in Syria (661–750)\n## Andalusia: The Umayyads in Spain (756–1492)\n## The Abbasid and Fatimid Caliphates (750–1258)\n## Gateways to Europe (800–1400)\n## The Seljuks, the Ottomans and Sinan (1075–1924)\n## The Revivals: Neo-Gothic, Neo-Saracenic, Neo-Moorish\n## Iconic Buildings of Europe: A Gallery of Images with Key Influences\n## Conclusion\n## Acknowledgements\n## Glossary\n## Notes\n## List of Illustrations and Figures\n## Bibliography\n## Index","[{\"question\":\"Why does the book connect 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