Manazir Journal最新文献

De la poudre aux yeux 从粉末到眼睛

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.7

Mélisande Bizoirre

引用次数: 0

Sacred King in the Shah Tahmasp Shahnama 神圣的国王在Shah Tahmasp Shahnama

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.6

Negar Habibi, Shervin Farridnejad

引用次数: 0

Reinvention of Padishah-i Islam in the Visual Representations of Ghazan Khan 在合赞汗的视觉表现中重新发明了帕迪沙伊伊斯兰教

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.3

Azade Latifkar

{"title":"Reinvention of Padishah-i Islam in the Visual Representations of Ghazan Khan","authors":"Azade Latifkar","doi":"10.36950/manazir.2023.5.3","DOIUrl":"https://doi.org/10.36950/manazir.2023.5.3","url":null,"abstract":"This article discusses how the visualization of Mahmud Ghazan, the sixth Ilkhanid ruler, was employed to construct and propagate his image as the Padishah-i Islam (King of Islam), thus justifying him both as king of Iranshahr (land of Iran) and the legitimate successor of the Prophet Muhammad. In a quest for visual translations of the Ilkhanid concept of Padishah-i Islam—an inseparable combination of the Persian notion of ideal kingship and prophethood—several illustrations from the Diez albums representing Ghazan or events of his reign have been identified, two of which have become subject to detailed iconographic analyses. Two approaches to the visualization of Ghazan as Padishah-i Islam can be considered here. The first is Ghazan’s birth scene where the visual narrative is covered in various formal and semantic layers; transformed into a symbolic narrative of a holy birth associated with those of the prophets. The second appears in the scene of Ghazan’s enthronement, probably once illustrated as an unknown manuscript’s frontispiece, the images’ composition and components appear as a visual panegyric poem which applies an elaborate visual language that elevates Ghazan to the level of a divine king.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135045361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Art as an Image of The Shah 作为国王形象的艺术

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.5

Amir Maziar

{"title":"Art as an Image of The Shah","authors":"Amir Maziar","doi":"10.36950/manazir.2023.5.5","DOIUrl":"https://doi.org/10.36950/manazir.2023.5.5","url":null,"abstract":"In 1566, after Sultan Suleiman’s death, Shah Tahmasp (r. 1524-1576) sent condolences and congratulations to Sultan Selim II (r. 1566-1574) along with several gifts, including a magnificent Quran and an exquisite illustrated Shahnama copy, noteworthy in Iranian art history. However, the letter accompanying these gifts has often been overlooked, perceived as containing mere courtesies. This letter marked a significant exchange between Safavid kings and Ottoman sultans, with participation from secretaries across Iran. Its authors aimed to portray an idealized king and their notable characteristics, demonstrating that the actions of these rulers (Sultan Suleiman, Sultan Selim, and particularly Shah Tahmasp) aligned with this ideal. Art-related activities were among these characteristics. The authors detailed the Safavid king’s palace, garden, and the artistic gifts to highlight their connection with the king’s ideal image. This article explores the letter as a literary and artistic medium, delving into its intricate rhetoric as a tool for representing royal authority. Additionally, it addresses how the authors’ descriptions of artworks as integral to the king’s image conveyed political meaning, illustrating how art reflected royal power in public and political spheres.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135045365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reflection of Identity in the Mirror of Narrative Images 身份在叙事形象之镜中的反映

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.8

Ali Boozari

引用次数: 0

Samarqand’s Congregational Mosque of Bibi Khanum as a Representation of Timurid Legitimacy and Rulership 撒马尔罕的比比哈努姆会众清真寺是帖木儿合法性和统治地位的代表

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.4

Elena Paskaleva

引用次数: 0

Reinvention of Padishah-i Islam in the Visual Representations of Ghazan Khan 在合赞汗的视觉表现中重新发明了帕迪沙伊伊斯兰教

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.2

Azadeh Latifkar

{"title":"Reinvention of Padishah-i Islam in the Visual Representations of Ghazan Khan","authors":"Azadeh Latifkar","doi":"10.36950/manazir.2023.5.2","DOIUrl":"https://doi.org/10.36950/manazir.2023.5.2","url":null,"abstract":"This article discusses how the visualization of Mahmud Ghazan, the sixth Ilkhanid ruler, was employed to construct and propagate his image as the Padishah-i Islam (King of Islam), thus justifying him both as king of Iranshahr (land of Iran) and the legitimate successor of the Prophet Muhammad. In a quest for visual translations of the Ilkhanid concept of Padishah-i Islam—an inseparable combination of the Persian notion of ideal kingship and prophethood—several illustrations from the Diez albums representing Ghazan or events of his reign have been identified, two of which have become subject to detailed iconographic analyses. Two approaches to the visualization of Ghazan as Padishah-i Islam can be considered here. The first is Ghazan’s birth scene where the visual narrative is covered in various formal and semantic layers; transformed into a symbolic narrative of a holy birth associated with those of the prophets. The second appears in the scene of Ghazan’s enthronement, probably once illustrated as an unknown manuscript’s frontispiece, the images’ composition and components appear as a visual panegyric poem which applies an elaborate visual language that elevates Ghazan to the level of a divine king.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135045082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Idea of the Just Ruler and the Art Patron in Persianate Calligraphy 波斯书法的正义统治者观念与艺术保护人

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.10

Hamid Reza Ghelichkhani

引用次数: 0

Visualizing Kingship in a Time of Change 在变化的时代观想王权

Manazir Journal Pub Date : 2023-10-09 DOI: 10.36950/manazir.2023.5.9

Mira Xenia Schwerda

{"title":"Visualizing Kingship in a Time of Change","authors":"Mira Xenia Schwerda","doi":"10.36950/manazir.2023.5.9","DOIUrl":"https://doi.org/10.36950/manazir.2023.5.9","url":null,"abstract":"Despite artistic engagement with photography in Iran almost immediately after the invention of the daguerreotype in 1839, the field of Islamic art history has had difficulty accepting the modern period and the medium of photography as part of its discipline. Studies on painted Iranian portraiture have often stopped before the introduction of photography, and only in more recent years has photographic portraiture and its influence on painting been examined. Due to this nascent state of the field, large gaps exist even on more traditional topics, such as the question of royal portraiture. This article presents the first examination of photographic royal portraiture and the visualization of kingship during the Iranian Constitutional Revolution (1905-1911). This topic, in comparison with earlier Iranian painted royal portraiture, has received considerably less attention. Photographic portraiture, together with printed and painted examples, from the reigns of the Qajar rulers Nasir al-Din Shah (r. 1848-1896), Muzaffar al-Din Shah (r. 1896-1907), Muhammad ʿAli Shah (r. 1907-1909), and Ahmad Shah (r. 1909-1925), will be analysed in connection with social and political developments in order to better understand the development of royal image making during a time of political turmoil.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135045366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

La ville comme lieu d’exposition de sa mémoire 这座城市是他记忆的展示场所

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.7

Rym Khene

引用次数: 0