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Muqarnas has always been one of the most complex decorative elements of world's monumental architecture. This unique structure has been intensely studied from various aspects by many scholars. Nevertheless, there is still lack of clarification about the structure's origin and more specifically its path of evolution. There are some theories indicating that muqarnas is originated from squinches in Iran, but no further explanation is provided to fill the huge gap between the two, i.e. muqarnas and squinch, and to clarify the quality of the gradual development. In this manuscript, the missing link between muqarnas and squinch is introduced that is in fact, another undefined form in traditional architecture of Iran, named patkaneh. A qualitative approach was employed that strives to demonstrate the steps of gradual deformation of muqarnas from squinch by defining the characteristics of the linking ornament, using an inductive approach. In addition, some critical samples of muqarnas and pseudo-muqarnas, as they are named before being identified, were selected and introduced in this manuscript, which were used as guides towards finding the gradual development of muqarnas.
"Readership: All those interested in the history and theory of art, and histories of Persian literature and culture in the premodern Islamic world."--BOOK JACKET.
This book studies the surviving 79 monumental inscriptions from the Iranian world that date to the first five centuries of the Muslim era (ad 622-1106). Each is presented with photographs, drawings, transcriptions, translations and an extensive commentary, which explains the text in its larger historical and artistic context.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
I.B.Tauris in association with the Iran Heritage Foundation Iran's rich cultural heritage has been shaped over many centuries by its rich and eventful history. This impressive book, which assembles contributions by some of the world's most eminent historians, art historians and other scholars of the Iranian world, explores the history of the country through the prism of Persian literature, art and culture. The result is a seminal work which illuminates important, yet largely neglected, aspects of Medieval and Early Modern Iran and the Middle East. Its scope, from the era of Ferdowsi, Iran's national epic poet and the author of the Shahnameh to the period of the Mongols, Timurids, Safavids, Zands and Qajars, examines the interaction between mythology, history, historiography, poetry, painting and craftwork in the long narrative of the Persianate experience. As such, Ferdowsi, the Mongols and the History of Iran is essential reading and a reference point for students and scholars of Iranian history, Persian literature and the arts of the Islamic World.
Martin Dickson once confided to Stuart Cary Welch "that twenty five years would pass before our fellow specialists would fully comprehend what we had achieved." The "achievement" he was referring to is the monumental double volume The Houghton Shahnama (1981), still ill-understood thirty five years later. Their "achievement" is a treasure trove of information that needs to be rediscovered and reused. Three recent papers that tried to discredit Dickson and Welch provided the impetus to revisit some of the complex manuscripts that they had analyzed, including the British Library Khamseh (O. 2265) and the Cartier Divan of Hafez, to discover historical details that provide a better insight into Safavid society.
The volume provides a comprehensive record of the formative centuries of Islam in Iran.
"Deals with all aspects of Islamic art and architecture ranging from the Middle East to Africa to Central, South, and East Asia and includes entries on artists, rulers, writers, ceramics, sculpture, metalwork, painting, calligraphy, textiles, and more"--Provided by publisher.
What is the relationship between development as a globalizing project and the production of cultural specificities in developmental contexts? Utilising an architectural lens, this book illustrates how development instigates interest in the past and in the process, creates heritage. It show multiple uses of the past and their contestation in highly fluid social contexts.
The nineteen papers collected in this volume were delivered at a symposium held in Toronto, November 1989 in order to discuss the art and culture of Timurid times. The papers cover the last decades of the fourteenth century and the whole of the fifteenth, in an area of western Asia extending roughly from the Euphrates to the Hindu Kush and to the Altai.