Abstract
AbstractThe libraries of the Fatimid caliphs in Egypt (r. 969–1171) are known to have been extraordinarily large, containing hundreds of thousands of volumes on all branches of knowledge. Of these fabled manuscripts, only a handful are known to survive. It has long been assumed that a substantial number of the secular manuscripts would have been illustrated, as many later Islamic manuscripts are illustrated, but no examples are known to have survived, although somewhat more than 150 paper fragments bearing images have been attributed to the period, as well as representations in other media, ranging from carved ivories to ceramics. In the absence of surviving illustrated manuscripts, scholars have deployed several strategies to attempt to reconstruct the lost art of painting in the Fatimid period, most notably Richard Ettinghausen in his seminal 1942 article “Painting in the Fatimid Period” and Ernst Grube in a subsequent series of articles and chapters. This article examines the evidence and explores how scholars have interpreted it within the broader contexts of representation and manuscript illustration in Islamic art.
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