Hesitating along this panoramic and apologetic paper between the denominations “Muslim art” and “Tatar art”, the author manages not to explain the meaning of either, and preserves her aporia from beginning to end of her demonstration.  Insisting nevertheless on the common artistic features between the Volga Region since the adoption of Islam in the early tenth century CE and the more central parts of the world of Islam, G. Valeeva-Suleimanova assesses the role of the nomadic cultural substratum of pre-Islamic societies in the Volga Region, of the diffusion of Arabic calligraphy (and of the general non-iconic character of art in Islam), of the construction of mosques and other worship buildings, of the practice of stonecutting, especially in the Ulus of Jöchi after the Özbek Khan’s conversion.  The deep transformations of the late nineteenth and twentieth centuries are evoked through the consequences of the professionalisation of artists.

The Redaction
CER: I-4.4-371