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While the impact of the Persian style is undeniably reflected in most aspects of the art and architecture of Islamic Central Asia, this Perso-Central Asian connection was chiefly formed and articulated by the Euro-American movement of collecting and interpreting the art and material culture of the Persian Islamic world in modern times. This had an enormous impact on the formation of scholarship and connoisseurship in Persian art, for instance, with an attempt to define the characteristics of how the Islamic art of Iran and Central Asia should be viewed and displayed at museums, and how these subjects should be researched in academia. This important historical fact, which has attracted scholarly interest only in recent years, should be treated as a serious subject of research, accepting that the abstract image of Persian art was not a pure creation of Persian civilization, but that it can be the manifestation of particular historical times and charismatic individuals. Attention should therefore be given to various factors that resulted in the shaping of “Persian” imagery across the globe, not only in terms of national ideologies, but also within the context of several protagonists, such as scholars, collectors and dealers, as well as of the objects themselves. This volume brings together Islamic Iranian and Central Asian art experts from diverse disciplinary and professional backgrounds, and intends to offer a novel insight into what is collectively known as Persian art.
"When plans were made to hold an exhibition from private collections, to accompany the Vlth International Conference on Oriental Carpets, the goal was initially for a modest number of carpets to be furnished by Pacific Coast collectors. Two factors, however, dramatically expanded the scale of the operation. The organizers became aware early in the game that there is a great wealth of world-class material in these collections, and the enormous space available in the hall at Fort Mason imposed virtually no limitation on the number that could be included. The result has been what must be the largest showing in the history of collectible oriental rugs under a single roof, with now slightly upward of three hundred in "Oriental Rugs from Pacific Collections," supplemented by over a hundred from other sources as well. Within this assortment of more than four hundred rugs, there is surely something for every taste. With more than 230 of these rugs in color, the catalogue also takes on a massive quality, allowing readers to experience or reexperience a monumental event in the history of oriental rug exhibits."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
In Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881–1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O’Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.