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Ein Königreich Für Die Kalligrafie
INFOBRIEF 1 SOMMER 2017 FONDATION POUR LA CULTURE DE LA CALLIGRAPHIE FOUNDATION FOR THE CULTURE OF CALLIGRAPHY herausgegeben von der Stiftung Schriftkultur e.V., gemeinnütziger Verein, VR 1553 Gut Königsbruch, Am Gutshof 13, D-66424 Homburg, Tel. 06841 98 89 091, www.schriftkultur.eu Ein Königreich für die Kalligrafie Seit 1. April 2017 ist die im Juli 2016 gegründete Stiftung Schriftkultur e. V. stolze Mieterin der renovierten Galerieräume in der ehemaligen Scheune im historischen Gut Königsbruch. Die Schrift - künstlerin Katharina Pieper und der Nachlass ihres 2015 verstorbenen Partners Jean Larcher aus Paris, bedeutender französischer Schriftkünstler und Designer, haben einen Ort gefunden, der passender nicht sein könnte: Am Kreuzungspunkt der früheren Kaiserstraße (Route Napoléon) und der Salzstraße der Römer (Via Regalis) in Homburg/Saar entsteht ein neues Zentrum für Schrift und Kalligrafie. Die Stiftung Schriftkultur freut sich auf die Zukunft, auf viele Begegnungen und auf alle neuen Projekte im historischen Gutshof – ein wahres Königreich für Kunst und Kultur der Schrift. Liebe Interessierte an Schrift, Kalligrafie, Typo - grafie und an der Kultur des Schreibens, Obwohl die Stiftung Schriftkultur noch nicht lange ihre neuen Räume im Gut Königsbruch bezogen hat, kann sich das neue Zentrum für Schrift, Kultur & Kalligrafie schon jetzt sehen lassen. Die ersten Kurse haben bereits stattgefunden, und derzeit laufen die Planungen für die neuen Workshops und Kurse für das 2. Halbjahr 2017/18. Karin Fischer, meine Assistentin und Sekretärin, und ich sind am 11. April 2017 ins Büro eingezogen. Die Regale unserer Schaltzentrale füllen sich allmählich, denn es ist viel rund um den Verein und des - sen Tätigkeit zu organisieren. -
Architecture and the Representations of Kingship During the Reign of the Safavid Shah ʿabbas I
ARCHITECTURE AND THE REPRESENTATIONS OF KINGSHIP DURING THE REIGN OF THE SAFAVID SHAH ʿAbbAS I Kishwar Rizvi Authority in Islamic cultures was conceived of as being both imperial and theocratic. The caliph or sultan was given the title “shadow of God on Earth” and his role was to uphold the law and dispense justice in a manner that assured loyalty toward his leadership and harmony through- out his dominions. The person of the sultan was universally believed to be the repository of ultimate power, yet the way in which this power was represented varied according to specific geographic and historical criteria. In all cases, however, the ruler’s rightly-guided authority was formulated through judicial, military, and artistic means. That is, the representation of power was constructed by clerics, historians, poets, painters and archi- tects of the court. This imperial image was monumentalized through his- torical compendia, architecture and the arts of the book, which have left us ample material through which the vision and, occasionally, the person- ality, of a ruler may be studied. The early modern period in Islamic history is full of the names and exploits of great kings, from Timur Lang (Tamerlane) to Mehmet the Con- queror. In the sixteenth century the reigns of three kings stand out, namely that of Suleyman (r. 1520–66) in Ottoman Turkey, Akbar (r. 1556–1605) in Mughal India, and ʿAbbas I (r. 1587–1629) in Safavid Iran. All three are renowned for the manner in which they defined their respective empires through the patronage of works of art and architecture. -
ROCCO-CUAJ-PDF.Compressed.Pdf
The career of Timur (1336-1405) as Amir its construction is evidence of a building of Central Asia was marked by an campaign carried out first and foremost in ambitious quest for power and legitimacy pursuit of competition in traditional terms within two traditions: the Chaghataytid, with past examples: the subsequent Turco-Mongol one, and the Islamic.1 residences Timur erected were gardens Scholars have long agreed that a part of studded with pavilions which therefore this enterprise of legitimisation was preserved a nomadic flavour, tents for pursued by means of architectural accommodation being erected and the patronage.2 Others have posited that delights of nature fully enjoyed.4 Timur’s choice to establish Samarqand as A ruined monumental ayvan – a a capital city was evidence of him giving span of some twenty-two meters and a up the Mongol nomadic principle of height of over thirty metres, the largest mobility and his recognition of the extant Islamic ayvan – is all that has importance of sedentariness to imperial survived from the Aq Saray (Fig. 1A, 1B rule.3 In the city of Shahrisabz or Kesh, and 2A, 2B). By definition, an ayvan is a an important centre already under the large vaulted hall which may be walled ancient Sogdians (sixth to eleventh on three sides and opening directly on century BC) and close to his birthplace, the outside on the fourth. The side Timur built the Aq Saray (literally, “White opposite to the one opening to the Palace”, probably denoting its noble, outside can present, like it seems it was royal nature). -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
Noble Or Evil: the Ṣaḍvārgika Monks Reconsidered*
Acta Orientalia Academiae Scientiarum Hung. Volume 66 (2), 179–195 (2013) DOI: 10.1556/AOrient.66.2013.2.4 NOBLE OR EVIL: THE ṢAḌVĀRGIKA MONKS RECONSIDERED* CUILAN LIU Department of South Asian Studies, Harvard University 1 Bow Street, Cambridge, MA 02138 USA e-mail: [email protected] This article reconsiders how the ṣaḍvārgika monks, or monks in the band of six, are represented in Vinaya, the codified Buddhist law texts. Conventionally, these ṣaḍvārgika monks are portrayed as evil figures whose behaviours have subsequently become exemplary of monastic violations in Vina- ya literature. In this article, I discover a neglected alternative discourse in which the ṣaḍvārgika monks are perceived as supporters of Buddhism who were well educated in various secular and religious subjects. Specifically, this study reveals that the authors of two Chinese texts Lüjie benshu 律戒本疏 (T2788) and Guan wuliangshou jing yishu 觀無量壽經義疏 (T1749) argued that the ṣaḍvārgika monks are noble figures who had purposefully acted out various misdeeds to facilitate the promulgation of the Buddhist monastic law, which only becomes necessary when the situation requires it. Key words: Vinaya, ṣaḍvārgika, Band of Six, Monastic Law. Introduction Buddhism has established its monastic rules based on incidents that the Buddha has declared unlawful. Vinaya texts from various Buddhist traditions hold the ṣaḍvārgika monks accountable for most of these unlawful deeds and depict them as morally cor- rupted monastics. Likewise, they also accuse a band of six or twelve nuns of notorious deeds identical with those of the monks.1 Such negative interpretations have survived * I thank Leonard W. J. van der Kuijp, Michael Witzel, Shayne Clarke, and the anonymous reviewers for their feedback on earlier versions of this article. -
Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting
PERSICA XIX, 2003 MATHEMATICS AND MEANING IN THE STRUCTURE AND COMPOSITION OF TIMURID MINIATURE PAINTING Sarah Chapman University of Edinburgh INTRODUCTION Even at first glance many Timurid miniature paintings reveal a strong sense of pattern and organization on which much of their overall dynamism depends. One can see the repetition of geometric shapes created by the figures, the very static and linear nature of much of the architecture, and the feeling of proportion and harmony in their composition. The obvious deliberation in their structure suggests that they may have been precisely planned and may even adhere to some kind of mathematical formula. The formal qualities of Persian miniature painting have been remarked on many times, and many techniques and conventions have been identified by scholars. Of particular rel- evance to this investigation are the studies of Guest,1 Zain,2 Adle,3 and Stchoukine.4 Guest identifies the importance of text panels in the calculation of important measurements and relationships within Persian painting, and discusses the repetition of certain measurements and distances as “a kind of counterpoint throughout the design.”5 Zain further investigates the relationship between text and painting, identifies certain formulaic tendencies in the building of Timurid compositions, and discusses the presence of a “hidden structural line” in many paintings which “guide” our experience as a viewer.6 Adle and Stchoukine both investigate the ‘mathematical’ nature of Persian painting in some detail: Adle finds, like Guest, the repetition of certain measurements and goes on to describe a modular system for the organization of hunting and sporting scenes especially. -
Studies and Sources in Islamic Art and Architecture
STUDIES AND SOURCES IN ISLAMIC ART AND ARCHITECTURE SUPPLEMENTS TO MUQARNAS Sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. VOLUME IX PREFACING THE IMAGE THE WRITING OF ART HISTORY IN SIXTEENTH-CENTURY IRAN BY DAVID J. ROXBURGH BRILL LEIDEN • BOSTON • KÖLN 2001 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Roxburgh, David J. Prefacing the image : the writing of art history in sixteenth-century Iran / David J. Roxburgh. p. cm. — (Studies and sources in Islamic art and architecture. Supplements to Muqarnas, ISSN 0921 0326 ; v. 9) Includes bibliographical references and index. ISBN 9004113762 (alk. papier) 1. Art, Safavid—Historiography—Sources. 2. Art, Islamic—Iran– –Historiography—Sources. 3. Art criticism—Iran—History—Sources. I. Title. II. Series. N7283 .R69 2000 701’.18’095509024—dc21 00-062126 CIP Die Deutsche Bibliothek - CIP-Einheitsaufnahme Roxburgh, David J.: Prefacing the image : the writing of art history in sixteenth century Iran / by David J. Roxburgh. – Leiden; Boston; Köln : Brill, 2000 (Studies and sources in Islamic art and architectue; Vol 9) ISBN 90-04-11376-2 ISSN 0921-0326 ISBN 90 04 11376 2 © Copyright 2001 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers MA 01923, USA. -
Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art
Annika K. Johnson exhibition review of Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Annika K. Johnson, exhibition review of “Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/johnson-reviews-osman-hamdi-bey-and-the- americans. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Johnson: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art The Suna and Inan Kıraç Foundation Pera Museum, Istanbul October 14, 2011 – January 8, 2012 Archaeologists and Travelers in Ottoman Lands University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia September 26, 2010 – June 26, 2011 Catalogue: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art (Osman Hamdi Bey & Amerikalilar: Arkeoloji, Diplomas, Sanat) Edited by Renata Holod and Robert Ousterhout, with essays by Renata Holod, Robert Ousterhout, Susan Heuck Allen, Bonna D. Wescoat, Richard L. Zettler, Jamie Sanecki, Heather Hughes, Emily Neumeier, and Emine Fetvaci. Istanbul: Pera Museum Publication, 2011. 411 pp.; 96 b/w; 119 color; bibliography 90TL (Turkish Lira) ISBN 978-975-9123-89-5 The quietly monumental exhibition, titled Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art, was the product of a surprising collaboration between the Suna and Inan Kıraç Foundation Pera Museum in Istanbul and the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia. -
ED222436.Pdf
DOCUMENT RESUME ED 222 436 SQ 014 341 TITLE Traditional and-Contemporary Painting in-China. A Report of the 1,isit of the Chinese Painting Delegation to the People's Republic af China. INSTITUTFON National Academy of Sci'ences, Washington, D.C. Cothmittee on Scholarly Communication with the People's Republic of China. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. PUB DATE 80 NOTE 170p. 'AVAILABLE FROM Chinese Painting Delegation ReporX, CSCPRC, National ,Academy of Sciences, 2101 tonstitution Avenue, N.W,, , Washington, DC 20418 (free). EDRS PRICE MF01/PC07 Plus- Postage. DESCRIPTORS Administration; Archaeology; Art Appreciation; Art Education; *Art aistory; *Asian Studies; *Chinese Culture;.Higher Education; Manuscript Writing (Handlettering); Museums; *Painting (Visual Arts); Religion;' Travel IDENTIFIERS *China ABSTRACT A group of American scholars who visited the,People's Republic of China in October and November of 1977 to study Chinese paintings report on their trip. The purpose of the report is to provide informatioh and insights which will be useful to other scholars,in the fierd and which will help promote the development of strong ties between U.S. and Chinese art histbrians. Reports on the following are provided: Chinese paintings in Chinese4 museums; religious paintings;'/Iian and Ming paintings; contemporary painting"; Chinese;calligraphy; art and archaeological finds on display in museums; and museums in China. Included in the appendices are the trip itinerary, names of the people met, and a listing of the paintings seen in China. (RM) ******************************************************.***************** Reproducti.ons supplied by EDRS are the best that can b'a made * 'from the original document. -
Marina Soria the Empty Space: Womb of Shape
SACG Major Workshop Marina Soria The Empty Space: Womb of Shape June 4-8, 2018 ! We are very pleased to host a week long class with Marina Soria this summer. Marina is an accomplished and acclaimed fine artist and calligraphic artist, as well as a skilled and inspirational teacher of art, especially calligraphic art. We so enjoyed our weekend with her two years ago that we had to have more. So here we are, looking forward to an entire week with one of calligraphy’s most devoted teachers. Marina has taught fine art, typography, graphic art, and calligraphy, all at the university level in Buenos Aires, Argentina. Her goal is always to inspire her students to move forward in their artistic journey, no matter what the class subject. She accomplishes this by providing students with extensive historic background, graphic samples, in-class demonstrations, and a complete bibliography. Class location: Discovery School (the “big room”), 222 Salem, San Antonio, TX Class dates: Monday through Friday, June 4-8, 2018, approximately 9-5 each day Class fee: $275. You may post date your check to June 1 if you prefer. But we must have your check in order to put your name on the class list. Your check holds your space. It will not be deposited until the class is complete. There will be no refunds unless you cancel at least 2 full weeks prior to June 1. To sign up: Contact Leslie Winakur, [email protected] or 210-394-7486. In Marina’s own words: Most of the time in Western art the empty space is considered as background or blank space. -
An Unknown Bāysunghurī Manuscript Sheds New Light on His Court and Library1
Hidden from Scholarly Eyes for a Century: An unknown Bāysunghurī manuscript sheds new light on his court and library1 SHIVA MIHAN Abstract This paper introduces a dual-text manuscript produced in 833/1430 at Herat in the library of the Timurid prince, Bāysunghur (1399-1437), which has escaped previous scholarly attention. Its scribe, Sa‘d al-Mashhadī, was previously known only for his copy of the Tārīkh-i Jahāngushā of ‘Atā-Malik Juvaynī, as well as reports on his works in the Arża-dāsht by Bāysunghur’s chief librarian, Ja‘far Tabrīzī, where he is referred to as Maulānā Sa‘d al-Dīn. However, there is no other information about Sa‘d as a calligrapher or an artist in contemporary or later sources. After a brief description of the manuscript, which bears the name of Bāysunghur on its binding, the article attempts to discover a fuller picture of Sa‘d al-Mashhadī’s identity. A number of biographical dictionaries appear to equate him with a poet called Ḥāfiẓ Sa‘d, an exact contemporary who was also a prominent riddle writer, evidently attached to the court of Bāysunghur. This investigation in turn provides further evidence of an intellectual exchange between the courts of Bāysunghur Mīrzā and Ibrāhīm-Sultan, where the celebrated writer ‘Alī Yazdī also composed riddles, including some concerning Sa‘d al-Dīn. Key words: Bāysunghur, Sa‘d al-Mashhadī, Ḥāfiẓ Sa‘d, Arża-dāsht, riddles Introduction The output of manuscripts produced in the celebrated library of the Timurid prince, Bāysunghur Mīrzā, (1399-1437), has attracted ample scholarly attention for more than a century.2 However, there are still several examples of the Herat School’s arts of the book 1 I am grateful to Prof. -
Every Inch a King
Every Inch a King Comparative Studies on Kings and Kingship in the Ancient and Medieval Worlds Edited by Lynette Mitchell Charles Melville LEIDEN •• BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978-90-04-22897-9 CONTENTS List of Illustrations ........................................................................................... vii Notes on Contributors .................................................................................... xi Acknowledgements ......................................................................................... xvii “Every Inch a King”. Kings and Kingship in the Ancient and Medieval Worlds ................................................................................. 1 Lynette Mitchell and Charles Melville Defijining the Divine in Achaemenid Persian Kingship: The View from Bisitun .............................................................................. 23 Margaret Cool Root Xenophon’s Cyropaedia: Fictive History, Political Analysis and Thinking with Iranian Kings ........................................................... 67 Christopher Tuplin Alexander the Great: Divinity and the Rule of Law .............................. 91 Lynette Mitchell Seleucus I, Zeus and Alexander ................................................................... 109 Kyle Erickson Machiavelli and Xenophon’s Cyrus: Searching for the Modern Conceptions of Monarchy ........................................................................ 129 Waller R. Newell Ruling “Virtually”? Royal Images in Medieval English Law Books