BASIL GRAY Cecilia Gray
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Palaces of the Mongols and Their Successors
PART 4 PALACES OF THE MONGOLS AND THEIR SUCCESSORS (THIRTEENTH-EIGHTEENTH CENTURIES) THE ILKHANID PALACE BY SHEILA S. BLAIR THE PALACES ERECTED IN IRAN UNDER THE ILKHANIDS, No Ilkhanid palace stands, but part of one has the Mongol dynasty that ruled from 1258 to 1353, been uncovered at Takht-i Sulayman, southeast continued using well-established prototypes for of Lake Urmiya in northwestern Iran. German their form and decoration. What is new and excavations there in the early 1960s uncovered interesting about them is the wide variety of the ruins of a large and elaborately decorated documentation for them. The range of sources, hunting lodge built by the Ilkhanid Abaqa (r. from archaeological evidence to texts and con- 1265-82) directly on the foundations of the Sasa- temporary illustrations, is useful for methodolog- nian sanctuary of Shiz, the site where Sasanian ical reasons, as the various sources can be mea- emperors were crowned.4 The palace at Takht-i sured against one another to check the accuracy Sulayman is remarkable for the quality and abun- of textual variants and to verify and understand dance of the architectural decor, including carved the limits of two-dimensional representation with- marble, luster and lajvardina tiles, and carved in the conventional system of Persian painting. and molded stucco. Iranian excavations at Sul- The range of sources also enables one to move taniyya, Uljaytu's new capital 120 kilometers north- beyond the description of a single extant exam- west of Qazvin on the road to Tabriz, were begun ple, which may be an accident of survival and may in the 1970s, but only preliminary reports have or may not be typical, to the delineation of an been published.5 ideal type. -
The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field Sheila S
The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field Sheila S. Blair and Jonathan M. Bloom When we started studying Islamic art some thirty years ago, rial? Does a religiously based classification serve us better there were no good introductory textbooks that undergrad- than geographic or linguistic ones, like those used for much uates could read. When we started teaching the subject nearly of European art?To begin to answerthese questions, we must a decade later, there were still none, and we had to make do first review how the subject is defined, how it got to be that with stacks of photocopied articles and chapters assigned way, and how it has been studied.4 from one book or another in an attempt to present students with a coherent narrative.So little surveymaterial existed that The Definition and Historiographyof Islamic Art even graduate students had difficulty getting a grasp on the Islamic art is generally held to be "the art made by artists or whole field and had to resort to obscure and uneven publi- artisans whose religion was Islam, for patrons who lived in cations. For example, K.A.C. Creswell's massive tomes im- predominantly Muslim lands, or for purposes that are re- plied that Islamic architecture ended in 900 C.E.except in stricted or peculiar to a Muslim population or a Muslim Egypt, where it suddenly stopped four hundred years later in setting." It therefore encompasses much, if not most, of the the middle of the Bahri Mamluk period, although the Mam- art produced over fourteen centuries in the "Islamiclands," luk sequence of sultans persisted until 1517 and there was usually defined as the arid belt covering much of West Asia ample evidence for a glorious tradition of Islamic architec- but stretching from the Atlantic coast of North Africa and ture in many lands besides Egypt.' The venerable Survey of Spain on the west to the steppes of Central Asia and the PersianArt, originally published in five massivevolumes in the Indian Ocean on the east. -
The Decorated Papers Used in Manuscripts in Later Islamic Times
SHEILA S. BLAIR COLOR AND GOLD: THE DECORATED PAPERS USED IN MANUSCRIPTS IN LATER ISLAMIC TIMES Fine manuscripts made in later Islamic times are re- later texts tell us. From this information, I have de- nowned for their glorious colors. Connoisseurs and veloped a hypothesis about how decorated papers scholars have long appreciated the exquisite minia- came to be appreciated and made in the Islamic lands tures and illumination which embellish these manu- and the means by which such knowledge was trans- scripts. They have spent less time studying the pa- mitted. This hypothesis seeks to explain the specific pers used to support and surround the flowing route and method of artistic transmission, for I feel calligraphy, though these too are often exquisitely that too often scholars fall back on what I might call, tinted and decorated to contribute to this dazzling in a more cynical mood, the miasma theory of art display. history in which "influences" whizz about from country This somewhat lopsided approach reflects the in- to country like the winds whipping across the steppes terests of earlier researchers, who preferred paint- of Central Asia. ings to paper. Traditionally, published reproductions show just the miniature or a detail of the illumina- Colorful supports have long been part of the tradi- tion and crop the surrounding margins which are tion of Islamic manuscripts. Parchment, the support often done on colored and decorated paper.' This used for fine manuscripts from early Islamic times, was the case, for example, in virtually all the minia- was occasionally colored. One need only think of the tures illustrated in the Survey of PersianArt. -
Safavid Revival in Persian Miniature Painting Renewal, Imitation and Source of Inspiration
Chapter 1 Safavid Revival in Persian Miniature Painting Renewal, Imitation and Source of Inspiration Axel Langer In their 1933 seminal publication on the 1931 exhi- Revival that entered the art market around 1900, bition at Burlington House in London, Laurence that is, at the very moment when the West discov- Binyon, J.V.S. Wilkinson and Basil Gray state that ered Persian paintings. In its search for the original or genuine, this public either opposed or straight- “[w]ith present-day painting, and the rival claims forwardly disdained eclectic imitations and cer- of the modernist and the archaizing movements, tainly not valued them at all. we are not concerned; nor with the activities of the A similar uneasiness dominated scholarly re- professional ‘fakers,’ who, whether operating from search for nearly half a century, until first steps to- Persia or Europe, have executed some close imita- ward a more positive appraisal were taken. One is tions of old work, which have deceived many col- marked by the year 1982, when Ernst J. Grube ex- lectors, and who have displayed a technical dexter- amined a series of lacquered doors and ascribed ity comparable occasionally with that of the old them to the late nineteenth century, thereby re- miniaturists, and worthy of better employment.”1 evaluating them as creations of the Safavid Reviv- al.3 A decade later, in 1995, Eva Baer followed suit These remarks express a certain frustration shared by re-evaluating the famous chest at the Berlin by many contemporary collectors and scholars in- Museum of Islamic Art (J 4655) in terms of not de- terested in Persian miniature painting, a general scribing it as blunt forgery but as a genuine work attitude that can be traced back at least to the from the late Qajar period.4 prosperous years before World War i, when the Ever since, many papers and articles on specific market for Persian miniatures flourished. -
Jurgens, Valérie AM (2010) the Karlbeck
Jurgens, Valérie A.M. (2010) The Karlbeck Syndicate 1930‐1934: collecting and scholarship on Chinese art in Sweden and Britain. PhD Thesis, SOAS (School of Oriental and African Studies). https://eprints.soas.ac.uk/13095/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. The Karlbeck Syndicate 1930-1934: Collecting and Scholarship on Chinese Art in Sweden and Britain. Valérie A.M. Jurgens Submitted for the degree of Doctor of Philosophy University of London School of Oriental and African Studies 2010 1 I hereby declare that: the work presented in this thesis is my own the following parts of the work or works now submitted have not previously been submitted for a qualification at a university or similar institution until the outcome of the current application to this University is known, the work or works submitted will not be submitted for any qualification at another university or similar institution Date....................... -
Late-Sixteenth-Century Manuscript Production in Shiraz
LALE ULUQ SELLING TO THE COURT: LATE-SIXTEENTH-CENTURY MANUSCRIPT PRODUCTION IN SHIRAZ In modern scholarship, the adjective most frequently the text. Some would have still another bifolio of illu- attached to sixteenth-century manuscript production minated medallions, increasing to three the number in Shiraz is "commercial," a label thought to bejusti- of decorated bifolios before the text proper began. fied by the sheer number of extant Shiraz manuscripts Manuscripts which comprised several poems, such as lacking a patron's name, suggesting that they were Nizami's Khamsa or Jami's Haft Awrang, were given made to be sold on the open market. ' The label, how- additional illuminated bifolios for section headings. ever, should not also be used to imply a mass produc- These could total as many as seven to eight per manu- tion of indifferent quality, for that is ajudgment that script (fig. 1). Shahnama copies did not have these ad- cannot be applied to the luxuriously produced exam- ditional illuminated folios, since it was one continu- ples from sixteenth-century Shiraz.2 ous text, but they had an additional double-folio il- That deluxe Shiraz manuscripts were deliberately lustration of an enthronement with illuminated bor- made to resemble the royal manuscripts produced in ders midway through the text, which showed Luhrasp the reign of Shah Tahmasp and intended for consump- enthroned. The manuscripts would then end with a tion by courtly circles will be argued here. I will also double-folio finispiece. Deluxe Shiraz manuscripts also demonstrate that both the Safavid and Ottoman had numerous illustrations which covered the entire courtly elites sought them and, by placing them in the page,just as the illustrations of the courtly examples historical context of their production, propose a pos- did, often with marginal decoration of gold floral sible group of supporters for the Shiraz workshops.