Muqarnas最新文献_第8页

WAQF, ARCHITECTURE, AND POLITICAL SELF-FASHIONING: THE CONSTRUCTION OF THE GREAT MOSQUE OF JAFFA BY MUHAMMAD AGA ABU NABBUT 瓦克夫、建筑和政治自我塑造:穆罕默德·阿加·阿布·纳布建造的雅法大清真寺

IF 0.4 2区艺术学

Muqarnas Pub Date : 2001-01-01 DOI: 10.1163/22118993-90000019

R. Kana’an

引用次数: 7

TWO SAFAVID PAINTINGS: AN ESSAY IN INTERPRETATION 两幅萨法维绘画:一篇解读随笔

IF 0.4 2区艺术学

Muqarnas Pub Date : 2001-01-01 DOI: 10.1163/22118993-90000022

O. Grabar, Mika Natif

引用次数: 8

Socializing Medicine: Illustrations of the Kitāb al-diryāq@@@Socializing Medicine: Illustrations of the Kitab al-diryaq 社会化医学:Kitāb al-diryāq@@@Socializing医学:Kitab al- diyaq的插图

IF 0.4 2区艺术学

Muqarnas Pub Date : 2001-01-01 DOI: 10.2307/1523306

Oya Pancaroǧlu, Oya Pancaroǧlu

引用次数: 7

THE MEDIEVAL TROPHY AS AN ART HISTORICAL TROPE: COPTIC AND BYZANTINE “ALTARS” IN ISLAMIC CONTEXTS 作为艺术史比喻的中世纪奖杯:伊斯兰背景下的科普特和拜占庭“祭坛”

IF 0.4 2区艺术学

Muqarnas Pub Date : 2001-01-01 DOI: 10.1163/22118993-90000016

F. Flood

引用次数: 13

THE CONCEPT OF SPACE IN MAMLUK ARCHITECTURE 马穆鲁克建筑中的空间概念

IF 0.4 2区艺术学

Muqarnas Pub Date : 2001-01-01 DOI: 10.1163/22118993-90000017

Howayda Al-Harithy

引用次数: 33

KAMAL AL-DIN BIHZAD AND AUTHORSHIP IN PERSIANATE PAINTING Kamal al-din bihzad和作者在私人绘画

IF 0.4 2区艺术学

Muqarnas Pub Date : 2000-01-01 DOI: 10.1163/22118993-90000010

D. Roxburgh

{"title":"KAMAL AL-DIN BIHZAD AND AUTHORSHIP IN PERSIANATE PAINTING","authors":"D. Roxburgh","doi":"10.1163/22118993-90000010","DOIUrl":"https://doi.org/10.1163/22118993-90000010","url":null,"abstract":"peculiar to, Bihzad were then picked out and described. Having isolated them, these features attained the status of diagnostics. Visual extrapolation opened up a process in which unsigned works were identified as being made in the early, middle, or late stages of the artist’s life (underwritten by the teleological concept of the artist’s evolution, of his inexorable stylistic trajectory), in relationship to fixed points in his dated corpus. Then attributed works were judged for their authenticity, fleshing out the oeuvre still further. The method is a long established one in the discipline of the history of art, and it was used yet again in Ebadollah Bahari’s recent monograph on Bihzad.8 But, as we shall see, this method of stylistic analysis, more specifically its operative conditions, is actually ill-suited to certain aspects of the practice of painting in the Persianate milieu of the late fifteenth and early sixteenth century. Since the early 1900’s scholars have championed Bihzad, and although their motivations are rarely stated, a desire to promote an individual artist in an art tradition believed to comprise so many anonymous makers does come to the fore. Here, at long last emerged an artist who could rival the European art tradition’s list of heroes: F. R. Martin, writing in 1909 and 1912, raved about Bihzad, asking rhetorically whether or not his portraits matched those of Memling, Holbein, and Raphael; Ali Ahmad Naimi, writing as late as 1948, compared Bihzad to Jean Fouquet and François Clouet. 9 Comparisons between Bihzad and European artists were positively de rigueur. One unspoken reason behind the adulation may have been to enhance the saleability of a “nameable” artist on the early-twentieth-century art market.10 But without inspecting such fundamental aspects of the field’s social and economic culture, the construction and refinement of Bihzad’s role qua painter in the Persianate tradition has continued unchallenged,11 despite more recent attempts to adjust our vision of him. Thomas Lentz proposed a curative of sorts in Bihz ̧d was one of the painters. He painted extremely delicately, but he made the faces of beardless people badly by drawing the double chin too big. He drew the faces of bearded people quite well.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"28 1","pages":"119-146"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83660879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 35

ADDITIONS TO ILLUSTRATED MANUSCRIPTS IN OTTOMAN WORKSHOPS 在奥斯曼工坊中添加的有插图的手稿

IF 0.4 2区艺术学

Muqarnas Pub Date : 2000-01-01 DOI: 10.1163/22118993-90000011

Zeren Tanındı

引用次数: 19

FROM TRANSLATED WORD TO TRANSLATED IMAGE: THE ILLUSTRATED ŞEHNÂME-İ TÜRKÎ COPIES 从翻译的文字到翻译的图像:插图ŞehnÂme -İ tÜrkÎ副本

IF 0.4 2区艺术学

Muqarnas Pub Date : 2000-01-01 DOI: 10.1163/22118993-90000012

Serpil Bağcı

引用次数: 22

THE INTRODUCTION OF PAPER TO THE ISLAMIC LANDS AND THE DEVELOPMENT OF THE ILLUSTRATED MANUSCRIPT 纸张传入伊斯兰土地和插图手稿的发展

IF 0.4 2区艺术学

Muqarnas Pub Date : 2000-01-01 DOI: 10.1163/22118993-90000003

J. Bloom

{"title":"THE INTRODUCTION OF PAPER TO THE ISLAMIC LANDS AND THE DEVELOPMENT OF THE ILLUSTRATED MANUSCRIPT","authors":"J. Bloom","doi":"10.1163/22118993-90000003","DOIUrl":"https://doi.org/10.1163/22118993-90000003","url":null,"abstract":"Scholars have offered various explanations for this phenomenon. Some, adducing pictorial evidence from the other arts, such as ceramics, have argued that manuscript illustration had been practiced for a long time in the Islamic lands, although no illustrated manuscripts actually survive from early times.2 Others have traced this explosion of illustrated books to external influences, such as artists in the Islamic lands copying Middle Byzantine or Syrian Jacobite painting,3 while still others have argued that the appearance of illustrated manuscripts was the result of an internal development, specifically the emergence of the bourgeoisie as patrons of this new art form.4 Oddly enough, few if any scholars have linked the emergence of the illustrated book to the introduction and increasing use of paper.5 Paper was introduced to the Islamic lands from Central Asia in the eighth century and was quickly adopted for use in government offices.6 The oldest surviving book on \"Arab\" or \"Islamic\" paper is generally thought to be a Greek manuscript of the teachings of the Church fathers (Vat. Gr. 2200), believed to have been copied in Damascus ca. 800. Apart from a manuscript in the Alexandria public library recently discovered by the Israeli scholar Malachi Beit-Arie,7 the oldest surviving book on paper in Arabic (in Europe) is a work in Leiden on unusual terms in the prophetic traditions, which is dated Dhu'l-Qa'da 252 (November-December 867). It bears no indication of where it was copied.8 Over the course of the ninth and tenth centuries","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"55 1","pages":"17-23"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83721964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

COLOR AND GOLD: THE DECORATED PAPERS USED IN MANUSCRIPTS IN LATER ISLAMIC TIMES 彩色和金色:后期伊斯兰时代手稿中使用的装饰纸

IF 0.4 2区艺术学

Muqarnas Pub Date : 2000-01-01 DOI: 10.1163/22118993-90000004

S. Blair

{"title":"COLOR AND GOLD: THE DECORATED PAPERS USED IN MANUSCRIPTS IN LATER ISLAMIC TIMES","authors":"S. Blair","doi":"10.1163/22118993-90000004","DOIUrl":"https://doi.org/10.1163/22118993-90000004","url":null,"abstract":"scripts. They have spent less time studying the papers used to support and surround the flowing calligraphy, though these too are often exquisitely tinted and decorated to contribute to this dazzling display. This somewhat lopsided approach reflects the interests of earlier researchers, who preferred paintings to paper. Traditionally, published reproductions show just the miniature or a detail of the illumination and crop the surrounding margins which are often done on colored and decorated paper.' This was the case, for example, in virtually all the miniatures illustrated in the Survey of Persian Art.2 Even such a groundbreaking work as Basil Gray's 1979 volume, The Arts of the Book in Central Asia, which included separate chapters on calligraphy, illumination, and binding, had no discussion of paper, and most of the illustrations in it are cropped to show only the miniatures and not the margins.3 More recent investigations, however, focus on the complete page, including calligraphy and margin, and one of the peripheral purposes of this paper is to encourage reproductions of full rather than cropped pages. Another is to encourage further study and publication of the basic physical aspects of manuscripts. A third is to investigate the connection between technological innovation and descriptions of it in medieval times.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"35 6 1","pages":"24-36"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89132736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 7