ABSTRACT
The Transformation of Islamic Art is cited as a reliable source of information on the art and architecture of the medieval Islamic period. Following the initial reviews of Yasser Tabbaa's The Transformation of Islamic Art During the Sunni Revival, more scholars in the field began to respond to his book. In The Transformation of Islamic Art, Tabbaa argues that the naskh script was symbolically charged as a symbol of the resurgent Sunni revival. Tabbaa's approach resonates particularly with Irvin Cemil Schick, who co-edited the volume Calligraphy and Architecture in the Muslim World with the intention of treating architectural calligraphy as something "more than pure text". A number of scholars have developed and advanced the project started by Tabbaa in The Transformation of Islamic Art. Historians of Islamic art such as Stephennie Mulder, Caroline Olivia M. Wolf, Cynthia Robinson, and Hana Taragan have continued to explore the connections between religious and political ideologies and the monuments of the medieval Islamic world.
