Pictures of Imam Ali Part Two

Works of art exclusively from the perspective of art history, and the circulation of artistic forms in Islamic societies. Therefore, it has no relation to any sectarian or denominational idea, as some may imagine. This subject is studied in the aesthetic context and sociological use, with an attempt to scrutinize the development dates of this portrait up to its current standard form, and to see the contributions of Persian, Indian, and Maghrebian influences in its formulation. The author emphasizes throughout the pages that ideological, doctrinal, sectarian preoccupations with images of Ali ibn Abi Talib are not appropriate for the concerns of "art history." Therefore, the author appears strict in adhering only to the standards, origins, and histories of art, and presents himself as one of the loyal Arab authors to these standards. He, before that, also demonstrated similar adherence to the origins of poetic art. This work is a development of the author's previous ideas, based this time on accurate historical data, and on models, images, and documents that have not been published before. The subject of "Portrait of Imam Ali" offers an opportunity to study art history within its local geographic scope, in our region. It is a subject that simultaneously encompasses aesthetic, social, and historical dimensions, which collectively are ideal when studying art history and conducting excavations within it.