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From monumental architecture to miniature paintings, sumptuous carpets, and ceramics: the decorative profusion of the arts of Persia captured in glorious detail through hundreds of color photographs
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.
This is a new release of the original 1945 edition.
Overview of Iranian and Persian manuscript painting, manuscript illumination, calligraphy and drawing, from the sixteenth to the nineteenth century
In this illustrated book, nine contributors explore multifaceted aspects of art, architecture and material culture of the Persian cultural realm, encompassing West Asia, Anatolia, Central Asia, South Asia, East Asia and Europe. Each chapter examines the historical, religious or scientific role of visual culture in the shaping, influencing and transforming of distinctive 'Persian' aesthetics across the various historical periods, ranging from pre-Islamic, medieval and early modern Islamic to modern times.
Iranian art of the Qajar period (1779-1925) has long been neglected and is little understood. This beautifully illustrated book for the first time comprehensively examines the flowering of Persian painting and the visual arts of this period. It focuses on the growth of a remarkable tradition of life-size figural painting, virtually unseen in the Islamic world. Exquisite historic manuscripts, lacquer works, calligraphies and enamels further illuminate the subject. The Qajar Epoch carries essays by leading scholars exploring the historical and social context of the period. Detailed entries describing and interpreting a wide variety of painting and artifacts, many hitherto unseen masterpieces from museums such as the Hermitage and private collections are virtually all illustrated in color and accompanied by translations of inscriptions, technical appendices and extensive bibliographies. A unique reference work, The Qajar Epoch will appeal to both specialist of pre-modern Iran and all those interested in non-Western artistic and cultural traditions.
This book is the first survey of the figural arts of the Iranian world from prehistoric times to the early twentieth century ever to consider themes, rather than styles. Analyzing primarily painting - in manuscripts and albums, on walls and on lacquered, painted pen boxes and caskets - but also the related arts of sculpture, ceramics, and metalwork, the author finds that the underlying themes depicted on them through the ages are remarkably consistent. Eleanor Sims demonstrates that all these arts display similar concerns: kingship and legitimacy; the righteous exercise of princely power and the defense of national territory; and the performance of rituals and the religious duties called for by the paramount cult of the day. She describes a variety of superb works of art inside and outside these categories, noting not only how they illustrate archetypal themes but also what it is about them that is unique. She also discusses the ways that Iranian art both influenced and was influenced by invaders and neighboring lands. Boris I. Marshak discusses pre-Islamic and also Central Asian art, in particular the earliest Iranian wall paintings and their pictorial parallels in rock carvings and metalwork, and the richly painted temples and houses of Panjikent. Ernst J. Grube considers religious imagery, and provides an informative bibliography.
Today the Victoria and Albert Museum holds extensive and renowned collections of Iranian art, spanning at least twelve centuries of Iran's sophisticated cultural history. These objects range from archaeological finds to architectural salvage, from domestic furnishings and drinking vessels to design archives. Most of this diverse material was purchased in the late nineteenth century, over a few decades - roughly between 1873 and 1893 - during a specific period of contact between Victorian Britain and Qajar Iran. This book investigates that period through four case studies, showing how architects, diplomats, dealers, collectors and craftsmen engaged with Iran's complex visual traditions, ancient and modern --