Download Book arts of Isfahan : diversity and identity in by Alice Taylor PDF

By Alice Taylor

Released to coincide with an exhibition on the J.Paul Getty Museum, this booklet explores the colourful inventive legacy of the capital urban of the Safavid Empire in seventeenth-century Persia. Isfahan was once a crossroads of foreign alternate and international relations and, hence, grew to become a kaleidoscope of resident languages and religions. The artists of town have been remarkably attentive to the actual and mental variety of its many peoples: Armenians, Uzbeks, Turks, Christians, and Jews. So precise was once their process that artwork historians now recognize an Isfahan sort. Book Arts of Isfahan brings jointly dozens of miniatures, such a lot of them drawn from the collections of the Getty Museum, the collage of California, la, and the l. a. County Museum of artwork. With Alice Taylor's concise and readable textual content, they supply a superb evaluation of the books and manuscripts produced within the Isfahan variety.

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It is possible that the Captive Uzbek is a copy of an Isfahan drawing made for an Ottoman audience. The similarities "Isfahan Style" Miniatures * 17 PLATE 3 A Captive Uzbek Isfahan, ca. 1610, or a slightly later Turkish copy. Los Angeles County Museum of Art, The Edwin Binney, 3rd Collection of Turkish Art, M. 237-28. 18 Book Arts of Isfahan FIGURE 4 A Turkish Lady Probably Isfahan, early seventeenth century. Los Angeles County Museum of Art, The Nasli M. 477. FIGURE 5 An Indian Maiden Standing Under a Willow Tree by Shaikh 'Abbasi.

God's beneficence is worked out, much as it is in Nizami's poetry, through an enumeration of the beauties of his works: the clouds; trees; animals (each with shining eyes and soft fur); even the water and rocks are beautiful. At the same time, a ruined building in the distance, and lifeless trees before it, suggest the futility of human endeavor. Muhammad Zaman conveys these sentiments using European techniques. The fading of colors into the blue mountains in the distance, the convincing recession of the space around Majnun and his visitors, the careful observation of light and shadow, are all techniques imported to Persian painting.

His Majnun in the by Muhammad Zaman. Ashraf, 1676. Courtesy of the Arthur M. 120. Wilderness (pi. 8) shows both his admiration for European painting and the Persian concerns he explored in the new style. This miniature is one of several that Muhammad Zaman made in 1676, at the command of Sulaiman, for a refurbishment of the shah's sixteenth-century illustrated manuscript of the poet Nizami's works. It shows Majnun during his retreat in the wilderness, where he contemplated his ill-fated love for Laila, coming to understand the greater meaning of that love, and God's love for the world.

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