Muqarnas最新文献

{"title":"THE STUDY OF PAINTING AND THE ARTS OF THE BOOK","authors":"D. Roxburgh","doi":"10.1163/22118993-90000002","DOIUrl":"https://doi.org/10.1163/22118993-90000002","url":null,"abstract":"The essays in this volume are revised versions of papers first presented at the conference, \"The Making and Reception of Painting in the Pre-Modern Islamic World,\" held in May 1999 under the auspices of the Aga Khan Program for Islamic Architecture at Harvard University. Over two days, the speakers presented new research on various topics about painting and the arts of the book in the pre-modern Islamic world. Despite the breadth suggested by the conference's title, the majority of papers reflect a critical mass of scholarship that has grown up around painting and the arts of the book in Iran, Central Asia, and the Middle East, and within a literary milieu that was predominantly Persian, in the so-called classical period of Persian painting, spanning the fourteenth through the sixteenth century. Some of the essays dealt with earlier periods or expanded the geographical boundaries to offer perspectives on the art tradition in its formation and in its later reception as a cultural construct. The division of this volume's essays into four categories reflects the organization of the conference.' As defined at the conference's inception, the categories encompass, first, the materials and methods used for book production; second, the conception and realization of painting; third, theories of painting and aesthetics; and fourth, later responses to paintings and books. By providing a thematic framework, these categories allowed a critical discussion of the physical and written sources that extended beyond the specifics of individual papers to question methods used to study manuscript painting and generally accepted scholarly paradigms and the foundations of arguments. The critical insights of the four discussants-Yves Porter, Marianna Shreve Simpson, Irene Winter, and Gillru Necipoglu-greatly added to the debate. From its formative stages, Persian painting in both manuscripts and single-sheet images quickly emerged as a principal subject of scholarly interest, alongside the equally developed categories of architecture, ceramics, and carpets. Significant space was allocated to painting and the arts of the book in the first exhibitions of this century; indeed, some of them displayed painting to the exclusion of all other arts.2 But it has been quite a long time since a conference was devoted exclusively to painting and the arts of the book, and this r quires some comment. Chang s in the scholarship on Islamic art and architecture, as well as in pedagogy, have been reflected in the conf rences of recent years. A few-for example, a recent conference on the exhibition and collection of Islamic art,3 and another about pre-modern Islamic palaces4--were organized along thematic lines. Conferences on the art and architecture of the","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"123 1","pages":"1-16"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76129700","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}

{"title":"THE THEORY AND PRACTICE OF PORTRAITURE IN THE PERSIAN TRADITION","authors":"P. Souček","doi":"10.1163/22118993-90000008","DOIUrl":"https://doi.org/10.1163/22118993-90000008","url":null,"abstract":"Any attempt to survey the development and significance of portraiture in the Persian pictorial tradition requires the synthesis of scattered and often contradictory materials. Earlier efforts to analyze the role of portraits in the visual culture of the Islamic world have confronted seemingly insoluble problems. Textual and pictorial evidence attests that at certain times portraiture flourished, particularly in Iran, Central Asia, and India. On the other hand, religious scruples evidenced in Koranic commentaries that circulated among both Sunni and Shi'a scholars, concerning the impropriety of a person seeking to usurp the creative role of God by producing images of animate beings appear to preclude the production of individualized portraits. Attempts to amalgamate this conflicting evidence into a coherent whole have been hampered by the absence of any theoretical model for evaluating the relative significance of its constituent elements. Little attention has been paid either to reconstructing the functions served by portraiture or even to defining what constitutes a portrait within the Persian cultural sphere. The aim of this essay is to create a historical and conceptual framework for analyzing the role of portraiture in the pictorial tradition of pre-modern Iran and related regions and thereby lay the foundations for a more satisfactory resolution of these complicated questions. Investigations into the role of images in various regions of the Islamic world have reached different and sometimes intrinsically contradictory conclusions. Some studies refer tangentially to the question of portraits in the course of a broader consideration of at-","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"404 1","pages":"97-107"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85501645","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}

{"title":"THE BEGINNINGS OF THE ILLUSTRATED ARABIC BOOK: AN INTERSECTION BETWEEN ART AND SCHOLARSHIP","authors":"Eva R. Hoffman","doi":"10.1163/22118993-90000005","DOIUrl":"https://doi.org/10.1163/22118993-90000005","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"36 1","pages":"37-52"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90048891","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}

{"title":"THE AGE OF MUHAMMADI","authors":"A. Soudavar","doi":"10.1163/22118993-90000006","DOIUrl":"https://doi.org/10.1163/22118993-90000006","url":null,"abstract":"Shah Isma`il's (r. 1501-24) emphasis on educating his sons in the fine arts together with the activation of the royal library-atelier for the great Shãhnãma project promised an ever expanding horizon for the future of Persian painting. But Sha h Tahmasb's (r. 1524-76) early disenchantment with painting, followed by the precipitated death of his brothers cut short all such prospects. Then, as the second generation of princes led by the talented patron-prince Ibrahim Mirza (1540-77), was about to revive the royal library-ateliers, the house of the Safavids was hit by the devastating fratricide launched by Isma`il II (1576-78). By the time Isma`il II was in turn assassinated, only the blind prince Muhammad and a few very young princes were still alive. And yet, Persian painting continued to flourish as new modes of expression were tested and attempts were made to brake the molds of classical painting. The initial assault was led by Mirza `Ali and Shaykh Muhammad in the Mashhad atelier of Ibrahim Mirza. But it was the painter Muhammadi who channeled the revolutionary style of these two masters into a calligraphic mode that harmonized Persian painting with the flowing patterns of Persian poetry; a mode subsequently adopted and popularized by the celebrated Riza `Abbasi.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"156 1","pages":"53-72"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89119987","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}

{"title":"FROM THE “THEORY OF THE TWO QALAMS” TO THE “SEVEN PRINCIPLES OF PAINTING”: THEORY, TERMINOLOGY, AND PRACTICE IN PERSIAN CLASSICAL PAINTING","authors":"Yves Porter","doi":"10.1163/22118993-90000009","DOIUrl":"https://doi.org/10.1163/22118993-90000009","url":null,"abstract":"Sura 68 of the Koran begins with the phrase, \"Nfin wa'l-qalam wa mayasturin .. .\" (Nin. By the pen and by what they inscribe ... ). This enigmatic sentence, in which the angels seem to dip their pen in the inkwell of the niin,l as well as later interpretations (tafsTr) and traditions (hadith), greatly contributed to the kind of divine homage given to Islamic calligraphers. 2 Painters did not benefit from such grace, however, as we know from later religious texts like the hadith, in which opposition to painting was even more open. 3 It is amazing, therefore, to see the efforts Persian painters (and poets!) made to link these two forms of expression. The efforts are particularly exemplified in the arts of the book that were so magnificently practiced in Iran during the period termed \"classical.\"4 These attempts to link calligraphy and painting have a long history, and their evolution-in illuminated manuscripts as well as in literary production-can be followed through various stages. The Iranian world has a well-established tradition of images that goes back to antiquity; an example of the coexistence of text and image in this area can be traced as far back as Achaemenian times, with the inscription of Darius the Great in Bisutun (sixth century B.C.). The structural relation between text and image became increasingly intricate in illustrated manuscripts, at least from the middle of the fourteenth century onwards. These links can be observed, among other things, through the composition and layout of the paintings, which were achieved with the help of calligraphic ruling (the mastar). These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between calligraphy and painting found during the classical period of Persian painting had some theoretical basis, and, if it did, whether we have any chance of discovering what it was. Two \"theories\"-one, the so-called theory of the two qalams and the other known as the \"seven principles of painting\"-can throw some light on the subject. Although probably drawing on an earlier literary tradition, both of these theories appeared in Safavid Iran, and both represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic art. Some introductory remarks on the Persian literature on art are first necessary to provide a general framework in which these theories appeared and a glimpse of the place the artist occupied in that literature. Although some of these texts have been translated into Western languages, others have not and therefore remain out of the reach of the majority of scholars. One of the first Persian texts to be translated was Qadi Ahmad's Gulistdn-i hunar.5 This biographical account of calligraphers and painters was written between 1596 and 1606 and can be considered fundamental to the history of the arts of Safavid times. As the great Iranian scholar M. T. Danish-Pazhuh has shown, however, s","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"72 1","pages":"109-118"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89545781","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}

{"title":"A MUGHAL CODE OF CONNOISSEURSHIP","authors":"John Seyller","doi":"10.1163/22118993-90000013","DOIUrl":"https://doi.org/10.1163/22118993-90000013","url":null,"abstract":"The exercise of connoisseurship on Mughal paintings is practically irresistible. The paintings are varied in subject and have a level of formal detail which rewards sustained scrutiny. Because so many illustrated Mughal manuscripts are securely dated, most individual Mughal paintings can be dated to within a few years, and many are signed by or ascribed to individual artists. The availability of this kind of documentation has encouraged scholars to make extraordinarily subtle distinctions among the careers and personal styles of various imperial painters. Most scholars assume that the Mughal emperors had a similar focus on the artist, and point to Jahangir's singular claim to this brand of connoisseurship:","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"15 1","pages":"177-202"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86495683","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}

{"title":"THE STORY OF THREE GRAFFITI","authors":"Ömür Baklrer","doi":"10.1163/22118993-90000383","DOIUrl":"https://doi.org/10.1163/22118993-90000383","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"140 1","pages":"42-69"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90643419","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}

{"title":"THE MOSQUE OF THE TURKISH GRAND NATIONAL ASSEMBLY IN ANKARA: BREAKING WITH TRADITION","authors":"M. al-Asad","doi":"10.1163/22118993-90000387","DOIUrl":"https://doi.org/10.1163/22118993-90000387","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"16 1","pages":"155-168"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90153065","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}

{"title":"THE HUMAN FIGURE IN EARLY ISLAMIC ART: SOME PRELIMINARY REMARKS","authors":"E. Baer","doi":"10.1163/22118993-90000382","DOIUrl":"https://doi.org/10.1163/22118993-90000382","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"4 1","pages":"32-41"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78304451","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}

{"title":"THE TWO GREAT SYRIAN UMAWAD MOSQUES: JERUSALEM AND DAMASCUS","authors":"R. Grafman, M. Rosen-Ayalon","doi":"10.1163/22118993-90000380","DOIUrl":"https://doi.org/10.1163/22118993-90000380","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"20 1","pages":"1-15"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81939910","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}