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.
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