Fall 2026 AHVS 359: Islamic Arts from the Mongol Conquests to Modernity (Units: 1.5)

Course Description

This course examines the art and architecture of the Islamic world from the Mongol conquests of the early thirteenth century to the nineteenth century, tracing developments across a vast geography from North Africa to Central Asia. Organized broadly chronologically, the course explores the visual cultures of major dynasties—including the Ilkhanids, Timurids, Mamluks, Safavids, Ottomans, and Mughals—while analyzing how political authority, imperial ideologies, and shifting religious identities shaped artistic production.

Alongside this chronological framework, the course incorporates thematic discussions of royal workshops, systems of patronage, cross-cultural exchanges in form and content, and the mobility of objects and ideas across imperial networks. The arts of the book and portable arts (e.g. ceramics, metalwork, textiles, jewelry, coins) are studied within their sociopolitical, economic, and aesthetic contexts, with particular attention to elite patronage and the formation of dynastic styles.

Architecture is treated in depth, both as a distinct artistic medium and as a key component of urban form, with case studies drawn from major dynastic capitals. By foregrounding both shared characteristics and regional diversity, the course highlights the dynamic, interconnected, and innovative nature of Islamic art and architecture from the thirteenth to the nineteenth century.

No prerequisites are required. The course assumes no prior knowledge of Islamic art or architectural history, and no knowledge of Persian, Arabic, or Turkish is necessary.

Course Objectives and Learning Outcomes

• Develop familiarity with the major Islamic dynasties and their significant artistic and architectural achievements.
• Build a working knowledge of the key artistic, architectural, and technical vocabulary related to Islamic art and architecture.
• Identify, analyze, and compare diverse visual traditions across the Islamic world, with attention to cross-cultural exchanges in form, content, and technique.
• Understand how political authority, religious identities, and systems of patronage shaped artistic and architectural production.
• Situate Islamic art and architecture within the broader context of world art history, emphasizing both regional diversity and interconnected developments.

Textbooks

I will post weekly readings from books, journals, and websites on Brightspace to complement our class discussions and the material presented in the PowerPoint slides.

In addition, the essays compiled on The Met’s Heilbrunn Timeline of Art History provide accessible and well-illustrated overviews of key themes, periods, and monuments in Islamic art and architecture. Alongside the specific essays assigned in the weekly readings, students are encouraged to explore other entries in the collection to deepen their understanding of the broader historical and cultural contexts.

Khamseen: Islamic Art History Online is a free and open-access online platform of digital resources dedicated to the study of Islamic art, architecture, and visual culture. 

Archnet is another excellent open-access resource for students and researchers working on the art and architecture of the Muslim world. It offers an extensive archive of images, architectural drawings, and scholarly essays covering a wide range of buildings, cities, and regions across the Islamic world.

Attendance

• Regular attendance and engagement are strongly recommended for success in this course. Students are responsible for all material, announcements, and assignments covered during missed sessions. Excessive absences (defined as missing more than five classes without a valid excuse) will result in a 5% reduction of your final grade. Valid excuses include documented illness, official university events, or other circumstances approved by me. Please notify me in advance whenever possible if you anticipate being absent.

  - An attendance sheet will be provided for students to sign. Please remember to sign it at the end of class before you leave.

   

• Although PowerPoint slides will be posted to Brightspace, they are not a substitute for the material discussed in class. The lectures offer context, analysis, and insights that go beyond what is included on the slides. Relying solely on the PowerPoints will not provide a complete understanding of the course content.
• Active participation is encouraged. Please feel free to ask questions and share your thoughts during class discussions. If you have questions about lecture material or assignments, you are welcome to visit me during Office Hours. If you are unable to attend office hours, you may email me at any time. I will do my best to respond promptly.

Academic Concessions

Be sure to review the guidelines for Academic Concessions in the Undergraduate Calendar, since the requirements and processes are frequently updated: 

Please note that for deferrals, the Calendar states that “In order to support conditions for student success, a significant portion of the course must be completed before a deferral may be granted."

Normally this means completing 50% or more of the core course components, including attendance.

Use of Generative AI in Assignments

In this course, students are permitted to use generative AI (GenAI) tools such as ChatGPT for various purposes, for example, brainstorming ideas, developing research topics, drafting assignments, or generating images. However, it is essential to use these tools responsibly and with academic integrity. Any content produced or significantly influenced by GenAI must be properly cited using your preferred citation style (e.g., APA, Chicago, MLA).

While GenAI can be a helpful starting point, it should not be relied upon uncritically. These tools can produce inaccurate, biased, or overly general information and often lack the depth, nuance, and source verification expected in academic work. Always verify any facts generated by AI, and be sure to bring your own critical thinking, voice, and analysis to all assignments. Use AI to support your learning, not to replace it.

Assignments and Evaluation

Late Assignment Submission Policy

The course includes a variety of assignments designed to develop students’ visual analysis, critical thinking, and writing skills. You must complete all assignments which means you must be present in the class for the three tests and submit your assignments by the deadline stated in the course syllabus. If you miss one of the tests or submit your essays after the stated deadline (without advising me in advance), you will receive an automatic grade of N.

Essential Course Components

1. Object Biography & Modern Afterlives (500 words) – 15% of Final Grade, September 25

   Students will write a 500‑word essay tracing the life of a chosen object or building, from its original commission and use to its movements across regions, owners, and historical contexts. They will also examine its modern afterlives, considering issues such as tourism, national identity, heritage politics, restoration debates, or museum display. This assignment develops clear, focused research and helps students understand how meanings of Islamic art and architecture change over time and continue to shape the present.

    

2. In-Class Test 1 – 15% of Final Grade, October 2

   This test evaluates students’ understanding of key concepts and visual analysis through a series of multiple-choice questions.

    

3. Patronage Profile (1000 words) – 15% of Final Grade, October 23

   Students will write a 1,000‑word essay on a major patron—such as Gawhar Shad, Shah Abbas I, Akbar, Jahangir, Shah Jahan, Mehmed II, or Suleyman the Magnificent. The assignment asks students to explore how political, religious, and personal priorities shaped the artistic projects commissioned during their reign. By examining key buildings, objects, or artistic programs, students develop skills in historical interpretation and learn how patronage influenced the production and meaning of Islamic art and architecture.

4. In-Class Test 2 – 15% of Final Grade, October 30

   The second test will follow the same format as the first, with multiple-choice questions covering key concepts and visual analysis.

    

5. In-Class Test 3 – 15% of Final Grade, December 4
   The final test includes both concept-based questions and image analysis and consists of a combination of multiple-choice questions, matching questions (images with terms or definitions), and short-answer questions (1–3 words).

    

6. Exhibition Proposal (1500 words) – 20% of Final Grade, December 11

   Students will design a hypothetical museum exhibition related to Islamic art and architecture from 1300 to 1900. The project includes developing a clear curatorial thesis, selecting 6–8 representative objects, writing interpretive wall labels, and drafting a short catalogue-style introduction. This assignment strengthens analytical and interpretive skills by asking students to think critically about how Islamic art and architecture are framed, contextualized, and communicated to public audiences across diverse historical periods.

Schedule of Classes

Week 1: 

Session 1 (September 9): Course Overview

Session 2 (September 11): Terms, Definitions, and Sources

Week 2: 

Session 1 (September 15): Methodologies

Session 2 (September 16): The Mongol Invasions and the Foundation of the Ilkhanids in Iran

Session 3 (September 18): The Ilkhanids in Iran (1256-1335) 

Week 3: 

Session 1 (September 22): Ilkhanid Visual Culture and Architectural Projects 

Session 2 (September 23): Post-Ilkhanid Iran: Regional Architectural and Artistic Developments

Session 3 (September 25): The Timurids in Greater Iran (1370–1507)

1^st Assignment: Object Biography & Modern Afterlives: Due September 25^th 

Week 4: 

Session 1 (September 29): Building an Imperial Capital: Samarkand

Session 2 (October 2): In-Class Test 1

Week 5:

Session 1 (October 6): Timurid Courtly Arts and Manuscript Production 

Session 2 (October 7): The Mamluk Sultanate (1250–1517)

Session 3 (October 9): Architecture under the Bahri and Burji Mamluks

Week 6: 

Session 1 (October 13): Mamluk Decorative Arts

Session 2 (October 14): The Nasrid Kingdom of Garanda (1232–1492)

Session 3 (October 16): Visual Culture and Architecture in the Nasrid Alhambra

Week 7: 

Session 1 (October 20): The Safavid Empire (1501–1736)

Session 2 (October 21): Safavid Imperial Capitals: Qazvin and Isfahan

Session 3 (October 23): Safavid Paintings, Textiles, Carpets, and Manuscript Paintings

2^nd Assignment: Patronage Profile: Due October 23

Week 8: 

Session 1 (October 27): The Mughal Empire (1526–1857): Timurid Inheritance and South Asian Synthesis

Session 2 (October 28): The Architectural Patronage of Akbar Shah and Shah Jahan

Session 3 (October 30): In-Class Test 2

Week 9: 

Session 1 (November 3): Mughal Imperial Ateliers and Art Production

Session 2 (November 4): The Rise of the Ottoman Empire (c. 1299–1453)

Session 3 (November 6): The Reign of Suleyman the Magnificent

Week 10: 

Session 1 (November 10): Reading Break, no class

Session 2 (November 11): Reading Break, no class

Session 3 (November 13): Ottoman Art and Architecture after Suleyman: Continuity and Change

Week 11: 

Session 1 (November 17): Visual Culture on the Eve of the Ottoman Collapse (1703–1922)

Session 2 (November 18): Art and Architecture in Qajar Iran (1796–1925)

Session 3 (November 20): Islamic Artistic and Architectural Traditions in the Long 18th and 19th Centuries

Week 12: 

Session 1 (November 24): Global Revivals of Islamic Artistic and Architectural Styles

Session 2 (November 25): Islamic Forms in Modern and Postmodern Architectural Practice

Session 3 (November 27): Modern and Contemporary Islamic Art: Artists, Movements, and Debates

Week 13: 

Session 1 (December 1): Contemporary artists engaging with heritage, identity, and politics

Session 2 (December 2): Rethinking “Islamic art” today

Session 3 (December 4): In-Class Test 3

3^rd Assignment: Exhibition Proposal: Due December 11 

Posting of Grades

Typically marks for assignments, examinations, and provisional final grades, are made available through a Learning Management System (LMS) like Brightspace, where each student will be able to view only their own grades. Sometimes numerical marks/grades may be posted publicly to the entire class. In that case, full student numbers or names will not be included with the posted information.