DOCSLIB.ORG

“Patna's Drawings” Album

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Mughal miniatures share these basic characteristics, but they also incorporate interesting innovations. Many of these deviations results from the fact that European prints and art objects had been available in India since the establishment of new trading colonies along the western coast in the sixteenth century. Mughal artists thus added to traditional Persian and Islamic forms by including European techniques such as shading and at- mospheric perspective. It is interesting to note that Eu- ropean artists were likewise interested in Mughal paint- ing—the Dutch artist Rembrandt van Rijn collected and copied such works, as did later artists such as Sir Joshua Reynolds and William Morris. These images continued to interest westerners in the Victorian era, during the period of Art Nouveau, and even today. [For a demon- stration of Persian miniature painting, see http://vimeo. com/35276945.] The DepicTion of The RuleR in Mughal MiniaTuRe painTing While Humayun was largely responsible for the im- portation of Persian painters to India, it was under Ak- bar that Mughal miniature painting first truly flourished. Akbar maintained an imperial studio where more than a hundred artists illustrated classical Persian literary texts, as well as the Mahabharata, the great Hindu epic that the emperor had translated into Persian from its original Sanskrit. Akbar also sponsored various books describing his own good deeds and those of his ancestors. Such books were expansive—some were five hundred pages long, with more than a hundred miniature paintings illustrat- portrait of the emperor shahjahan, enthroned, ing the text. It is here that we see the first concentrated from the “patna’s Drawings” album. focus on painted imagery dedicated to the Mughal rul- ers, and where the standards for such images are firmly established. The “Patna’s Drawings” Album, created un- when Nadir Shah of Persia sacked New Delhi, or in the der the rule of Akbar’s celebrated decendant Shahjahan, early nineteenth century, as antiquities dealers purchased is a wonderful later example of this type of presentation. what was left from the increasingly weakened Mughal The album is a continuation and fortification of the -Mu court. Over time, many of the albums were broken up, ghal miniature painting tradition celebrating kingship. augmented with additional materials, and rebound. Cer- The “paTna’s DRawings” albuM tainly many were lost as well. Albums such as the one of which our selected work, In general, such albums were of a consistent format the image of Shahjahan, is a part were generally made by and style. The book was introduced with imperial seals royal commission.37 Called muraqqa, they were intended and calligraphy pages, noting and hailing the emperor to serve as private luxury works, to be leafed through for whom it was commissioned. The albums included and enjoyed at leisure by the emperor and his friends and portrait miniatures of the ruler, his ancestors, and other family. Such objects would have originally been preserved members of the imperial family, as well as various dig- in the imperial collection and passed along through gen- nitaries and holy men. These portraits were arranged erations. Considering their purpose and provenance, it according to the hierarchy of the court and were often is quite surprising that only one mid-seventeenth-cen- supported by additional calligraphy elements. Many al- tury imperial album of paintings and calligraphies has bums also included natural history studies, particularly remained intact and in its original binding. The British botanical imagery. Such foliate decoration was also often Library holds this album, which was commissioned by seen in the borders of the various folio pages. Prince Dara-Shikoh in 1633 and presented to his wife According to the Bodleian Library which holds it, the Nadira Banu Begum in 1642. All of the other royal al- “Patna’s Drawings” Album includes a total of forty-one bums eventually left the imperial library, either in 1739 paintings, largely from the period of Shahjahan’s reign 74 USAD Art Resource Guide • 2015-2016.
Recommended publications
  • The Impression of Enclosure in Persian Garden Design

    The Impression of Enclosure in Persian Garden Design

    tructur S e & el e C Nafisi et al., J Steel Struct Constr 2016, 2:1 t o S n f s o t DOI: 10.4172/2472-0437.1000108 r l u a c n t r i o u n o J Journal of Steel Structures & Construction ISSN: 2472-0437 Research Article Article OpenOpen Access Access The Impression of Enclosure in Persian Garden Design Nafisi N, Abbas MY and Nafisi S Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA (UiTM), 40450 Shah Alam, Malaysia Abstract The presence of enclosure has been a significant characteristic of Persian gardens in Pre-Islamic and Islamic eras. This concept is also reflected in Persian ate miniature painting where buildings are enclosed by a light fence or a wall. In some cases, especially house gardens, the wall looks much stronger, probably to protect the security of the enclosed area. The organic arrangement of natural elements in the garden associated with the pavilion, however, is in contradiction to the presence of the enclosure. It can be said that in numerous paintings, water is not enclosed anymore, but it is the building (and the paved area close to it) that is covered by a transparent barrier or a well. Traditional Iranian towns highly appreciate the sense of privacy in their old building. For centuries, Iranian houses were divided into two parts “Inside” and “outside”, in which family members solely used the first part while guests used the latter as well. Despite the importance of privacy in traditional Iranian culture, Iranian people were not isolated, and social contacts had an importance.
  • Notes on the Formation of Hilya Design Calligraphy-Illumination Interaction and Numeral Symbolism

    Notes on the Formation of Hilya Design Calligraphy-Illumination Interaction and Numeral Symbolism

    Kafkas Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Kafkas University Journal of the Institute of Social Sciences Sonbahar Autumn 2019, Ek Sayı Additional Number 2, 155-176 DOI:10.9775/kausbed.2019.024 Gönderim Tarihi: 15.08.2019 Kabul Tarihi: 02.09.2019 NOTES ON THE FORMATION OF HILYA DESIGN: CALLIGRAPHY-ILLUMINATION INTERACTION AND NUMERAL SYMBOLISM Hilye Tasarımının Oluşumuna İlişkin Notlar: Hat-Tezhip Etkileşimi ve Sayı Sembolizmi Gülnihal KÜPELİ Dr. Öğr. Üyesi, Marmara Üniversitesi Güzel Sanatlar Fakültesi, [email protected] ORCID ID: 0000-0002-2055-0427 Çalışmanın Türü: Araştırma Abstract: In Ottoman tradition of thought the Prophet Muhammad represents the complete human being (al-insan al-kamil), who has reached the highest psychological, physical and spiritual stage of being. In this case the main purpose of the hilya as a work of calligraphy and illumination is to aesthetically evoke the physical appearance and moral character of the Prophet Muhammad. Moreover, the complex symbolism of the hilya as an expression of prophetic glory also reflects the cosmological thought of the Ottoman community. The subject of this article is to examine the classical hilya design attributed to the famous Ottoman calligrapher Hâfiz Osman in the context of calligraphy-illumination interaction and number symbolism. Examining classical examples of Turkish-Islamic arts of the book, we will try to observe that the conventional hilya design passed through various stages during the process of its formation. In this case the theoretical roots of Hâfiz Osman’s hilya form and the probability of his inspiration by the aesthetic designs of the previous periods will be examined through the decorative manuscripts in religious and non- religious topics.
  • Historical and Scientific Analysis of Iranian Illuminated Manuscripts And

    Historical and Scientific Analysis of Iranian Illuminated Manuscripts And

    Mandana Barkeshli1 The objective of the present research was to identify the materials Historical and Scientific and techniques used in Persian Analysis of Iranian illuminated manuscripts and Illuminated Manuscripts miniature paintings and its major 2 significance compared to Indo- and Miniature Paintings Iranian and Mughal paintings. The research methodology was based on three approaches. The first consiste of a series of interviews carried out with the artists from Iran and India. The traditional Iranian masters such as: Saniʿei, Jazizadeh, Takestani, Harati were among these artists. The second method was historical analysis, by collecting the Persian historical documents and treatises on the recipes and techniques from Timurid, Safavid, and Qajar periods. During the historical survey the historic documents, including over 30 historical treatises (such as Golzār-e safā, Ādāb ol-mashq, Resāle dar bayān-e khatt-e morakkab va hall-e alvān, Favāyed ol-khotut), were collected and studied.3 These sources are related to the materials used in the art of bookmaking and painting from the Timurid to the Qajar period, such as different techniques of making dyes for paper colouring, pigments and dyes used as paint, binding mediums, sizing materials, burnishing techniques, and so on. All the recipes were The present study aims to identify the materials and techniques used in Persian collected and categorized and the illuminated manuscripts and miniature information was used as the basis paintings and its major significance in comparison with Indo-Iranian and Mughal for our scientific analysis. Historical paintings. The research methodology was data on techniques was collected for based on oral interviews with traditional the most commonly recommended masters, historical analysis and scientific analysis.
  • Arh 362: Islamic Art

    Arh 362: Islamic Art

    ARH 362: ISLAMIC ART CLUSTER REQUIREMENT: 4C, THE NATURE OF GLOBAL SOCIETY COURSE DESCRIPTION This course surveys the art and architecture of the Islamic world from the 7th through the 20th centuries. By looking at major themes and regional variations of Islamic art and architecture, the course examines how meanings in various socio-political and historical contexts have been encoded through forms, functions, as well as the aesthetic features of arts, crafts, and the built environment. The last portion of the course, spanning the 19th to the late 20th centuries, examines the West’s discovery of the Islamic arts as well as the integration of Western ideas into indigenous ones. This course can only briefly address some of the major themes. The topics (especially those pertinent to the modern period) are introduced through a number of key readings, but they should be merely seen as introductions, providing possible directions for future and more advanced studies. Discussions and questions are always encouraged. The readings, which have been selected to supplement the required textbooks, are particularly chosen to serve this purpose. COURSE-SPECIFIC OUTCOMES Gain valuable information about Islamic art and design as well as the cultures that gave shape to them Read critically and interpret and evaluate art historical issues in relation to socio-political conditions in non-Western contexts Develop a foundation for writing good critical essays about non-Western art and material culture Research non-Western art in a museum context Comparative studies of Western and Non-Western styles in a variety of media, including 2D and 3D art and design as well as architecture.
  • Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting

    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.

  • Islamic Art Pp001-025 21/5/07 08:53 Page 2

    Spirit &Life Spirit & Life The creation of a museum dedicated to the presentation of Muslim ‘I have been involved in the field of development for nearly four decades. arts and culture – in all their historic, cultural and geographical Masterpieces of Islamic Art This engagement has been grounded in my responsibilities as Imam of diversity – is a key project of the Aga Khan Trust for Culture, one the Shia Ismaili Community, and Islam’s message of the fundamental of whose aims is to contribute to education in the fields of arts and from the Aga Khan Museum Collection unity of “din and dunya”, of spirit and life.’ culture. The developing political crises of the last few years have collections museum khan theaga from art ofislamic masterpieces revealed – often dramatically – the considerable lack of knowledge of His Highness the Aga Khan the Muslim world in many Western societies. This ignorance spans at the Annual Meeting of the EBRD all aspects of Islam: its pluralism, the diversity of interpretations Tashkent, 5 May 2003 within the Qur’anic faith, the chronological and geographical extent of its history and culture, as well as the ethnic, linguistic and social Spirit and Life is the title of an exhibition of over 160 masterpieces diversity of its peoples. of Islamic art from the Aga Khan Museum which will open in Toronto, Canada in 2009. This catalogue illustrates all the miniature For this reason, the idea of creating a museum of Muslim arts and paintings, manuscripts, jewellery, ceramics, wood panels and culture in Toronto as an eminently educational institution, with beams, stone carvings, metal objects and other art works in the the aim of informing the North American public of the diversity and exhibition, which spans over a thousand years of history and gives significance of Muslim civilisations naturally arose.
  • Studies and Sources in Islamic Art and Architecture

    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.
  • In Persian Traditional Painting, Greatly Influenced by Iranian Mystic Culture, May Have Lent Itself to Nineteenth-Century Iranian Photography by a Large Extend

    In Persian Traditional Painting, Greatly Influenced by Iranian Mystic Culture, May Have Lent Itself to Nineteenth-Century Iranian Photography by a Large Extend

    A Comparative Visual Analysis of Nineteenth-Century Iranian Portrait Photography and Persian Painting Pérez González, C.M. del Citation Pérez González, C. M. del. (2010, February 2). A Comparative Visual Analysis of Nineteenth-Century Iranian Portrait Photography and Persian Painting. Retrieved from https://hdl.handle.net/1887/14653 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/14653 Note: To cite this publication please use the final published version (if applicable). 4. ARRANGEMENT OF SPACE The function of "space" in Persian traditional painting, greatly influenced by Iranian mystic culture, may have lent itself to nineteenth-century Iranian photography by a large extend. I will devote this chapter to explore the understanding of space in Persian painting and the influence that this may have had on nineteenth-century Iranian photography. I will analyze the formal use of space both in Persian miniature painting and photography. The main research issues related to the arrangement of the space in Persian miniature painting are topics such as the non-linear perspective approach or the isometrical perspective (also called parallel perspective) to project a three-dimensional space onto a two-dimensional picture plane; the existence of multiple centres of attention (diffuse composition); the grid layout structure; and the vertical composition/vertical perspective. I will introduce the kinds of compositions that can be defined on the basis of the arrangement of the elements in the pictorial or photographic space, and explore the ones that are peculiar to nineteenth-century Iranian photography as influenced by the Persian painting tradition.
  • The Bustan of Sa'di: an Illustrated Persian Manuscript Dated 850/1446

    The Bustan of Sa'di: an Illustrated Persian Manuscript Dated 850/1446

    THE BUSTAN OF SA'Dl: AN ILLUSTRATED PERSIAN MANUSCRIPT DATED 850/1446 NORAH M. TITLEY and M. I. WALEY INTRODUCTION AMONG the notable items acquired in recent years by the Department of Oriental Manuscripts and Printed Books is a finely calligraphed and illuminated mid-fifteenth- century poetical manuscript in Persian (Or. 14237), containing three miniature paintings. ^ Despite their slightly damaged condition these miniatures are of particular significance for the study of what is an interesting phase in the stylistic development of Persian painting. They belong to a very small group, dating from the 1440s, in which elements associated with the style prevalent at Shiraz (in southern Persia) are intermingled with certain features characteristic of the work produced at Herat and Samarkand (in the north-east, and beyond the borders of modern Iran). Although in recent years several distinguished scholars have written on the Persian painting of this period,^ certain aspects of the subject merit further study; the style represented in Or. 14237 is one of them. Miss Titley's presentation and analysis of the miniatures in this manuscript, which follows, is a significant contribution towards this end. The text contained in the newly acquired manuscript is one of the best-known classics of Persian literature: the Bustdn (meaning 'Herb Garden' or 'Orchard') of Sa'dl of Shiraz {c.i2oo?-c.i2g2). The Bustdn is a poem comprising some 4,000 couplets in which Sa'dl skilfully and elegantly illustrates numerous maxims and ethical principles, using stories and anecdotes. Here, as also in Sa'di's equally celebrated Gulistdn^a. rather similar work, this time in prose interspersed with verses—it is sometimes difficult to distinguish fact from fiction.
  • The S Tudy of Cypress Appearance in the Persian Art and Architecture In

    The S Tudy of Cypress Appearance in the Persian Art and Architecture In

    International Journal of Architecture and Urban Development E-ISSN 2345-2331 © 2019 IAU Vol. 9, No.4. P 61-66. Autumn 2019 Development Urban and Of Architecture Journal International The s tudy of Cypress appearance in the Persian art and architecture in the light of Ges talt theory 1*Fatemeh Khozaei, 2Mina Safizadeh, 3Ahmad Sanusi Hassan, 4Qamar Ul Islam 1*Department of Architecture, Kerman Branch, Islamic Azad University, Kerman, Iran. 2School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. 3 Department of Electrical Engineering, School of Engineering & Technology, Baba Ghulam Shah Badshah University - Rajouri (J&K) India. 4School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. Recieved 08.12.2018; Accepted 07.10.2019 ABS TRACT: The impetus behind this s tudy is to discover the aes thetic and semantic patterns of the cypress tree and show how this element has been employed by Iranian artis ts. The ques tion of this research is how a cons tant element (the cypress tree) has been transfigured in different Iranian arts. Four categories of miniature, carpet, textile and architecture decoration. The present research is qualitative in nature and is descriptive-analytic and mainly uses the available published data. Data were analyzed inductively and interpreted in the light of Ges talt theory. Exploratory results reveal that the cypress as a cons tant element in Iranian art has been transfigured differently in different arts. With the aid of Ges talt laws, the visual appearance of the cypress tree was analyzed in the different samples a few of them are presented in the s tudy.
  • Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century

    Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century

    classical persian painting in the early twentieth century 359 MARIANNA SHREVE SIMPSON MOSTLY MODERN MINIATURES: CLASSICAL PERSIAN PAINTING IN THE EARLY TWENTIETH CENTURY Throughout his various writings on Persian painting Bek Khur¸s¸nº or Tur¸basº Bek Khur¸s¸nº, seems to have published from the mid-1990s onwards, Oleg Grabar honed to a fi ne art the practice of creative reuse and has explored the place of the medium in traditional replication. Indeed, the quality of his production, Persian culture and expounded on its historiography, represented by paintings in several U.S. collections including the role played by private collections, muse- (including one on Professor Grabar’s very doorstep ums, and exhibitions in furthering public appreciation and another not far down the road), seems to war- and scholarly study of Persian miniatures.1 On the rant designating this seemingly little-known painter whole, his investigations have involved works created as a modern master of classical Persian painting. His in Iran and neighboring regions from the fourteenth oeuvre also prompts reconsideration of notions of through the seventeenth century, including some of authenticity and originality within this venerable art the most familiar and beloved examples within the form—issues that Oleg Grabar, even while largely canonical corpus of manuscript illustrations and min- eschewing the practice of connoisseurship himself, iature paintings, such as those in the celebrated 1396 recognizes as a “great and honorable tradition within Dºv¸n of Khwaju Kirmani, the 1488 Bust¸n of Sa{di, and the history of art.”5 the ca. 1525–27 Dºv¸n of Hafi z.
  • Jews in Muslim Eyes

    Jews in Muslim Eyes

    Cover Story JEWS IN MUSLIM EYES The representation of the Jew in the Arab-Islamic world from colonialism to World War II: deconstructing antisemitism. A Magazine on Islamic art Winter 2018 Vol. 4 - N.1 In a world where more is available than can be known and understood, the reasons why we choose to know one thing over another are conscious or unconscious moral choices. Oleg Grabar Editorial by Sara Ibrahim, Editor-in-Chief This is the Start, a Brand-New Friend We are finally headed to 2018 and it’s now time to take stock of the past years of activity for IWA. 2017 has been a very special year for our magazine: New challenges, an ambitious project for the future, the launch of the genocide and this has consequences on a social, crowdfunding, the decision to go on print and start to anthropological and political level. sell the magazine online and offline, the new website, The most common rhetoric in many Arab-Muslim a renewed social media approach. We decided that it’s countries, for example, is based on the idea of a crucial for us to take IWA outside of the internet and “Palestinian Shoah” which has as much importance, physically promote our project participating in specific dignity and right to be recognized than the historical fairs and events. We will invest part of the money raised Holocaust. That’s why the attempt to deconstruct the with the crowdfunding in this new venture. common Western idea and concept of Shoah, building For all these novelties in progress for 2018, I want to a new one where Palestinian people are at the center, thank my great founder-mate and friend Giulia, who reflects the long-standing fight and competition personally took over the research and development for cultural and social hegemony between Jews and operations to take this project to the next level, Palestinians, but also an extreme attempt to bring the something that I couldn’t do with the same engagement Palestinian cause to world attention.