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The Mughal school of miniature painting flourished in northern India in the sixteenth and seventeenth centuries, chiefly under the patronage of the emperors Akbar, Jahangir and Shah Jahan. Rooted in a diversity of cultural, religious and artistic traditions, it became one of the richest and most productive schools in the whole history of Islamic art. In this beautifully illustrated book the author surveys the development of Mughal painting, from its early beginnings to the masterpieces created by the court studios for the books and albums of their demanding imperial patrons. He describes the historical setting in which the Mughal artists worked and the materials and techniques they used to create their brilliant effects. The paintings reproduced here cover the whole range of Mughal miniature art, from manuscript illustrations of biographical, historical or mythological works to courtly portrait albums, with both human and animal subject.
"The publication of this book commemorates the one thousandth anniversary of the completion of the Shahnama, the Persian national epic, which was written down in more than 50,000 couplets by the poet Firdausi. It also celebrates the most lavishly illustrated version of this text, a manuscript produced for the Safavid Shah Tahmasp, who ruled Iran from 1524 to 1576"--Director's Foreword, p. 7.
This richly illustrated book allows readers to identify the elements and themes of Islamic art forms, and to examine them in works of painting and metalwork, in calligraphy and manuscripts, ceramics, glass, wood, and ivory.
In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzâd, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzâd became the undisputed master of the “Persian miniature” and an almost mythical personality throughout Asian Islam. By carefully deciphering the visual symbols in medieval Islamic figurative art, Barry’s study deliberately takes a bold approach in order to decode the lost iconographic conventions of a civilization. The glorious illustrations, scholarly text, and extracts from Persian poetry, many translated into English for the first time, combine to create an essential new work of reference and a visual delight.
Fifty leaves that form the sumptuous Kevorkian Album, one of the world's greatest assemblages of Mughal art. -- Metropolitan Museum of Art website.
Dedicated to the topic of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume offers new insights and methodological models that extend our understanding of erotic and sexual subjects in the Islamic tradition. The essays shed light on the diverse socio-cultural milieus of erotic images, on the motivations underlying their production, and on the responses generated by their circulation.
Islamic Art of Illumination presents an amazing mixture of classical Turkish illumination patterns and their contemporary interpretations. Sema Onat, a prominent illumination artist in Turkey, displays her incredible pieces of art, skillfully swirling her imagination together with classical Turkish Islamic patterns of illumination.