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Association étudiante pour Promouvoir les Arts du Monde islamique.

12/02/2026

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Sumptuous textiles have always had a special significance in Malay culture, upholding long-standing traditions and playing a central role in ceremonies and rituals. Decorated fabrics such as this 𝘬𝘦𝘭𝘪𝘯𝘨𝘬𝘢𝘯 illustrate how Malay textile culture has evolved through interactions between local embroiderers and the wider world.

According to the late Azah Aziz, a prominent Malaysian expert on Malay textiles, the word ‘kelingkan’ may have originated from the French term 𝘤𝘭𝘪𝘯𝘲𝘶𝘢𝘯𝘵, meaning ‘glittering’. This shawl is embroidered with a floral pattern known as the 𝘴𝘦𝘬𝘢𝘬𝘪 𝘣𝘶𝘯𝘨𝘢 (floral stalk) motif. Kelingkan shawls were commonly worn by female Malay royalty in Selangor, Perak, Kedah, Kelantan and Terengganu during ceremonial occasions.

To learn more about the luxurious craftsmanship of Malay textiles, get your copy of ‘𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻 & 𝗖𝗼𝗻𝘁𝗶𝗻𝘂𝗶𝘁𝘆: 𝗪𝗼𝘃𝗲𝗻 𝗮𝗻𝗱 𝗗𝗲𝗰𝗼𝗿𝗮𝘁𝗲𝗱 𝗧𝗲𝘅𝘁𝗶𝗹𝗲𝘀 𝗼𝗳 𝘁𝗵𝗲 𝗠𝗮𝗹𝗮𝘆 𝗣𝗲𝗻𝗶𝗻𝘀𝘂𝗹𝗮’ from or order online: https://shop.iamm.org.my/product/museum-publication-tradition-and-continuity-woven-and-decorated-textiles-of-the-malay-peninsula and visit ‘𝗕𝘂𝘀𝗮𝗻𝗮: 𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗖𝗼𝘀𝘁𝘂𝗺𝗲𝘀 𝗼𝗳 𝘁𝗵𝗲 𝗠𝗮𝗹𝗮𝘆 𝗪𝗼𝗿𝗹𝗱’ exhibition which opens tomorrow 12th December 2025.

Picture: Tengku Permaisuri Perak Che Uteh Mariah binti Haji Sulaiman, the second wife of Sultan Idris I, 1924, wearing a 𝘬𝘦𝘭𝘪𝘯𝘨𝘬𝘢𝘯 shawl.

VisitMalaysia2026 IslamicArtsMuseum IAMM MalayHeritage MalayTextiles TradisiMelayu

27/10/2025

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we’re sharing this section from the curtain of the Prophet’s Tomb from our Hajj and the Arts of Pilgrimage Collection.

Woven in Ottoman Turkey in the 18th century, this silk curtain carries a rhythm of prayers and invocations. Narrow bands repeat blessings for the four Orthodox caliphs, the Companions of the Prophet, and all prophets and messengers. Alternating wider bands proclaim, “God, my Lord, there is none but He, Muhammad the beloved of my Lord” and “Prayers and Peace be upon you, O messenger of God.”

The textile’s words and craftsmanship speak to a vision of reverence and unity, reminding us that peace begins in the sacred act of remembrance and extends outward into the shared hopes of humanity.

05/05/2025

A l'attention des étudiants et jeunes chercheurs intéressés par les arts de l'Islam.
L'APAMI organise son cycle céramique. Vous pouvez vous inscrire à un ou plusieurs événements. Planning en commentaire.

28/04/2025

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Underglazed fritware tile, Turkey, Iznik, 1580 CE.

Central floral medallion flanked by four inward-facing palmettes in red, cobalt blue and green on a white ground.

25/09/2024

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KITAB AL-MAWLID AL-NABAWI
Ottoman Hejaz
D. 1043 AH/1633 AD

In celebration of Mawlid al-Nabi, we are proud to highlight a magnificent manuscript from our collection: Kitab al-Mawlid al-Nabawi from the Ottoman Hejaz. This manuscript, compiled by the esteemed scholar Ibrahim al-Khulusi ibn Wudd al-Jawi al-Sambawi, beautifully intertwines Arabic and Malay, reflecting the rich scholarly and cultural exchanges that have long taken place in Mecca. An important aspect of this manuscript is that it was written in Mecca by a member of the al-Jawi family, whose name denotes pilgrims from Southeast Asia.
The work features the famous poem Aqd al-Jawaher Fi Mawlid al-Nabi Al-Azhar, commonly recited during the Prophet Muhammad’s (PBUH) birthday celebrations. A true gem of Islamic scholarship and devotion.

28/04/2024

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EN: Fatimid rock crystal ewer with pear shaped body, beaked rim, and slightly splayed foot, dated 1000-1050. Such high-quality rock crystal vessels were made for the rulers of Cairo during the Fatimid period (969-1171). This is confirmed by inscriptions on several of them which name specific rulers. Great skill was required to hollow out the raw rock crystal without breaking it and to carve the delicate, often very shallow, decoration. These vessels were therefore probably prestigious items which the ruler would have displayed in his own treasury of prized possessions. The ewer is in the Victoria and Albert Museum in London.
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TR: 1000-1050 tarihli, armut gövdeli, gaga ağızlı, hafif kalkık ayaklı, Fatımi kaya kristalinden (necef taşı) ibrik. Bu tür yüksek kaliteli necef taşından yapılan kaplar, Fatımiler döneminde (969-1171) Kahire hükümdarları için yapılmıştır. Bu, birçoğunun üzerinde belirli hükümdarları adlandıran yazıtlarla doğrulanır. Ham kaya kristalini kırmadan narince oymak ve genellikle çok sığ süsleme yapmak için büyük bir beceri gerekiyordu. Dolayısıyla bu kaplar, muhtemelen, hükümdarın değerli eşyalarından oluşan kendi hazinesinde sergileyeceği prestijli eşyalardı. İbrik, Londra’daki Victoria ve Albert Müzesi’ndedir.

04/04/2024

[EVENEMENT] LES TRADITIONS MANUSCRITES D’AFRIQUE DE L’OUEST : RENCONTRE AVEC LES MAÎTRES CALLIGRAPHES - 15 MAI 2024 17H

La calligraphie en caractères arabes a connu différents développements dans le monde islamique. Elle s’est adaptée aux outils et matériaux locaux, aux systèmes de transmission et aux traditions de chaque région. La pratique calligraphique en Afrique de l’Ouest, qui perdure encore, trouve ses racines dans l’oralité et la transmission du geste. Deux maîtres calligraphes, Mohameden Ahmed Salem et Cheikh Mahamane Mahamoudou dit Hamou, respectivement formés dans les traditions mauritanienne et malienne, en dialogue avec des chercheurs, spécialistes de ces écritures, présenteront les différentes traditions calligraphiques à travers des démonstrations de leur pratique.

Une partie de l’événement se déroulera en anglais.

INTERVENANTS

Mohameden Ahmed Salem (maître calligraphe, Mauritanie), Éloïse Brac de la Perrière (INHA), Nuria Garcia Masip (Sorbonne Université), Cheikh Mahamane Mahamoudou dit Hamou (maître calligraphe, Mali), Susana Molins Lliteras (université du Cap)

ENTREE LIBRE

17h-19h / INHA, Galerie Colbert, Auditorium Jacqueline Lichtenstein, 2 rue Vivienne, 75002 Paris

Plus d'information : https://callfront.hypotheses.org/6274

25/03/2024

SÉMINAIRE

Vendredi 29 mars à 12h se tiendra la prochaine séance du séminaires Calligraphie aux Frontières du monde islamique (Callfront). Saarthak Singh (Gent University) interviendra sur le thème : « Calligraphic practices in Sultanate north India 14th - 15th centuries ». La séance aura lieu à l’Institut d’Art et d’Archéologie (3 rue Michelet, 75006, Paris) en salle Doucet.

« Cette conférence porte sur les aspects sociaux et artistiques de la production épigraphique dans l’Inde des sultanats aux XIVe et XVe siècles. Les textes arabes et persans inscrits sur les mosquées, les mausolées sont souvent lus comme des documents de patronage, avec peu d’attention portée à leur qualités esthétiques ou à leur contexte architectural. Ces derniers peuvent nous renseigner sur les pratiques épigraphiques, de la conception et l’exécution des inscriptions en pierre à leur rhétorique et leur réception dans les espaces publics. »
Annonce officielle en défilant ➡️

Plus d’information sur :
Callfront.hypothese.org

Organisation : Eloïse Brac de la Perrière, Maxime Durocher
Contact : [email protected]

19/11/2023

with .repost
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معرض أناقةٌ إمبراطورية: منسوجات من إيران الصفوية
القسم الأول
الحرير مقابل الفضة: إستراتيجية الشاه عباس لإعادة بناء إيران

القطع المميزة⭐️
سجادة عرش مع تصميم أوراق منجلية
إيران، كرمان، القرن السابع عشر الميلادي
صوف وقطن وحرير
متحف الفن الإسلامي، الدوحة
MIA.2013.194

بلغ فن النسيج الحريري وحياكة السجاد مراتبَ متقدمة في إيران في عهد الشاه عباس. هذه السجادة المصنوعة من الحرير الفاخر الأكثر نعومةً وامتصاصاً للأصباغ من الصوف والقطن، تُحفةٌ رائعة من فنون النسج والتصميم، سجادةٌ نابضة بالحياة بألوانها الزاهية، ورسومها البديعة مع تفاصيل خلابة نُفّذت بتكثيف عدد العُقد في كل سنتمتر مربع.

Fashioning an Empire: Textiles from Safavid Iran Exhibition

SECTION 1
Silk for Silver: Shah ‘Abbas’s Strategy to Rebuild Iran

Star ⭐️ Object

Throne Carpet with a Sickle-Leaf Design
Iran, Kerman, 17th century CE
Wool, cotton and silk
Museum of Islamic Art, Doha
MIA.2013.194

The art of silk textile and carpet weaving reached great heights in Iran during Shah ‘Abbas’ reign. This carpet is a masterpiece of weaving and design. It is made of luxurious silk, which is finer and more receptive to dyes than wool and cotton. The result is a vibrant carpet featuring rich colours. The incredibly detailed pattern is created by the high density of knots per square centimeter.

19/11/2023

A rare and fine example of Moroccan embroidery, this wall hanging (arid) displays the most remarkable achievement of a Chechaouene needlewoman’s skills.

Thought it is unclear exactly where arids were displayed within the domestic interior, they were probably secured flat against a wall and could be arranged either vertically or horizontally.

Worked in plaited stitch, these panels contain geometric motifs based on tracery, arabesques, stars, rectangles, and diamonds, all closely associated with Andalusian and North African tilework, woodcarving, and early textiles.

Hanging (arid); ca. 1800; Morroco, Chefchaouen; Linen, Silk; plain weave, embroidered; purchase, Everfast Fabrics Inc. Gift, 1970 (1970.272)

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