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Calligraphes et bibliophiles au temps des dynasties mongoles (Les Ilkhanides et les Djalayirides 656-814 / 1258-1411)
Author:
Cet ouvrage explore une période charnière de l’histoire du livre islamique et iranien: la période mongole envisagée dans le long terme, sous les dynasties ilkhanide et djalayiride. Il étudie la question de la maturation de la calligraphie arabe classique à travers la vie et l’œuvre de Yāqūt al-Mustaʿṣimī qui sont, pour la première fois, soumises à une analyse systématique, mettant en avant l’importance de son école et des maîtres bagdadiens pour les arts du livre des décennies suivantes. L’ouvrage se penche aussi sur les manuscrits des Ilkhans musulmans et du vizir Rashīd al-Dīn dans le cadre de la problématique de la naissance de la kitābkhānah et de l’affirmation du statut des calligraphes et des peintres sous les derniers Ilkhanides et les Djalayirides.
This book explores a pivotal period in the history of the book in the Islamic world and Iran, i.e. the Mongol period viewed in a long-term perspective, under the Ilkhanid and the Djalayirid dynasties. It examines the issue of the maturation of classical Arabic calligraphy through the life and work of Yāqūt al-Mustaʿṣimī, which are for the first time subjected to a systematic analysis, highlighting the importance of his school and the Baghdadi masters for the arts of the book of the following decades. The study also looks at the manuscripts of the Muslim Ilkhans and the Vizier Rashīd al-Dīn in the context of the birth of the kitābkhānah and the rise in the status of calligraphers and painters under the last Ilkhanids and the Djalayirids.
This book explores a pivotal period in the history of the book in the Islamic world and Iran, i.e. the Mongol period viewed in a long-term perspective, under the Ilkhanid and the Djalayirid dynasties. It examines the issue of the maturation of classical Arabic calligraphy through the life and work of Yāqūt al-Mustaʿṣimī, which are for the first time subjected to a systematic analysis, highlighting the importance of his school and the Baghdadi masters for the arts of the book of the following decades. The study also looks at the manuscripts of the Muslim Ilkhans and the Vizier Rashīd al-Dīn in the context of the birth of the kitābkhānah and the rise in the status of calligraphers and painters under the last Ilkhanids and the Djalayirids.
Calligraphes et bibliophiles au temps des dynasties mongoles (Les Ilkhanides et les Djalayirides 656-814 / 1258-1411)
Author:
Cet ouvrage explore une période charnière de l’histoire du livre islamique et iranien: la période mongole envisagée dans le long terme, sous les dynasties ilkhanide et djalayiride. Il étudie la question de la maturation de la calligraphie arabe classique à travers la vie et l’œuvre de Yāqūt al-Mustaʿṣimī qui sont, pour la première fois, soumises à une analyse systématique, mettant en avant l’importance de son école et des maîtres bagdadiens pour les arts du livre des décennies suivantes. L’ouvrage se penche aussi sur les manuscrits des Ilkhans musulmans et du vizir Rashīd al-Dīn dans le cadre de la problématique de la naissance de la kitābkhānah et de l’affirmation du statut des calligraphes et des peintres sous les derniers Ilkhanides et les Djalayirides.
This book explores a pivotal period in the history of the book in the Islamic world and Iran, i.e. the Mongol period viewed in a long-term perspective, under the Ilkhanid and the Djalayirid dynasties. It examines the issue of the maturation of classical Arabic calligraphy through the life and work of Yāqūt al-Mustaʿṣimī, which are for the first time subjected to a systematic analysis, highlighting the importance of his school and the Baghdadi masters for the arts of the book of the following decades. The study also looks at the manuscripts of the Muslim Ilkhans and the Vizier Rashīd al-Dīn in the context of the birth of the kitābkhānah and the rise in the status of calligraphers and painters under the last Ilkhanids and the Djalayirids.
This book explores a pivotal period in the history of the book in the Islamic world and Iran, i.e. the Mongol period viewed in a long-term perspective, under the Ilkhanid and the Djalayirid dynasties. It examines the issue of the maturation of classical Arabic calligraphy through the life and work of Yāqūt al-Mustaʿṣimī, which are for the first time subjected to a systematic analysis, highlighting the importance of his school and the Baghdadi masters for the arts of the book of the following decades. The study also looks at the manuscripts of the Muslim Ilkhans and the Vizier Rashīd al-Dīn in the context of the birth of the kitābkhānah and the rise in the status of calligraphers and painters under the last Ilkhanids and the Djalayirids.
Une étude sur les peintures dites farangi sāzi, leurs milieux et commanditaires sous Shāh Soleimān (1666-94)
Author:
In ʿAli Qoli Jebādār et l’Occidentalism safavide Negar Habibi provides a fresh account of the life and works of ʿAli Qoli Jebādār, a leading painter of the late Safavid period. By collecting several of the artist's paintings and signatures Habibi brings to light the diversity of ʿAli Qoli Jebādār's most important works. In addition, the volume offers us new insights into both the artistic and socio-political evolution of Iranian society in the last days of pre-modern Iran. By carefully consulting the historical sources, Negar Habibi demonstrates the possibility of a female and eunuch patronage in the seventeenth-century paintings known as farangi sāzi, while suggesting the use of the term "Occidentalism" for those Safavid paintings that show some exotic and alien details of the Western world.
ʿAli Qoli Jebādār et l’Occidentalisme safavide offre un nouveau récit de la vie et des œuvres de ʿAli Qoli Jebādār. Recueillant plusieurs peintures et signatures de l'artiste, Negar Habibi expose à la discussion de divers titres royaux de l'artiste. ʿAli Qoli Jebādār et l'Occidentalisme safavide approfondit également nos connaissances sur l'évolution artistique et socio-politique de la société iranienne à l’aube du modernisme. En consultant sans cesse les sources historiques, Negar Habibi montre la possibilité du patronage féminin et eunuque dans les peintures connues sous le nom de farangi sāzi au XVIIe siècle, tout en suggérant l'utilisation d'un nouveau titre comme l'Occidentalisme pour ces peintures safavides qui montrent des détails exotiques et étrangers appartenant au monde occidental.
ʿAli Qoli Jebādār et l’Occidentalisme safavide offre un nouveau récit de la vie et des œuvres de ʿAli Qoli Jebādār. Recueillant plusieurs peintures et signatures de l'artiste, Negar Habibi expose à la discussion de divers titres royaux de l'artiste. ʿAli Qoli Jebādār et l'Occidentalisme safavide approfondit également nos connaissances sur l'évolution artistique et socio-politique de la société iranienne à l’aube du modernisme. En consultant sans cesse les sources historiques, Negar Habibi montre la possibilité du patronage féminin et eunuque dans les peintures connues sous le nom de farangi sāzi au XVIIe siècle, tout en suggérant l'utilisation d'un nouveau titre comme l'Occidentalisme pour ces peintures safavides qui montrent des détails exotiques et étrangers appartenant au monde occidental.
Une étude sur les peintures dites farangi sāzi, leurs milieux et commanditaires sous Shāh Soleimān (1666-94)
Author:
In ʿAli Qoli Jebādār et l’Occidentalism safavide Negar Habibi provides a fresh account of the life and works of ʿAli Qoli Jebādār, a leading painter of the late Safavid period. By collecting several of the artist's paintings and signatures Habibi brings to light the diversity of ʿAli Qoli Jebādār's most important works. In addition, the volume offers us new insights into both the artistic and socio-political evolution of Iranian society in the last days of pre-modern Iran. By carefully consulting the historical sources, Negar Habibi demonstrates the possibility of a female and eunuch patronage in the seventeenth-century paintings known as farangi sāzi, while suggesting the use of the term "Occidentalism" for those Safavid paintings that show some exotic and alien details of the Western world.
ʿAli Qoli Jebādār et l’Occidentalisme safavide offre un nouveau récit de la vie et des œuvres de ʿAli Qoli Jebādār. Recueillant plusieurs peintures et signatures de l'artiste, Negar Habibi expose à la discussion de divers titres royaux de l'artiste. ʿAli Qoli Jebādār et l'Occidentalisme safavide approfondit également nos connaissances sur l'évolution artistique et socio-politique de la société iranienne à l’aube du modernisme. En consultant sans cesse les sources historiques, Negar Habibi montre la possibilité du patronage féminin et eunuque dans les peintures connues sous le nom de farangi sāzi au XVIIe siècle, tout en suggérant l'utilisation d'un nouveau titre comme l'Occidentalisme pour ces peintures safavides qui montrent des détails exotiques et étrangers appartenant au monde occidental.
ʿAli Qoli Jebādār et l’Occidentalisme safavide offre un nouveau récit de la vie et des œuvres de ʿAli Qoli Jebādār. Recueillant plusieurs peintures et signatures de l'artiste, Negar Habibi expose à la discussion de divers titres royaux de l'artiste. ʿAli Qoli Jebādār et l'Occidentalisme safavide approfondit également nos connaissances sur l'évolution artistique et socio-politique de la société iranienne à l’aube du modernisme. En consultant sans cesse les sources historiques, Negar Habibi montre la possibilité du patronage féminin et eunuque dans les peintures connues sous le nom de farangi sāzi au XVIIe siècle, tout en suggérant l'utilisation d'un nouveau titre comme l'Occidentalisme pour ces peintures safavides qui montrent des détails exotiques et étrangers appartenant au monde occidental.
The five Diez albums in Berlin, acquired by Heinrich Friedrich von Diez in Constantinople around 1789, contain more than 400 figurative paintings, drawings, fragments, and calligraphic works originating for the most part from Ilkhanid, Jalayirid, and Timurid workshops. Gonnella, Weis and Rauch unite in this volume 21 essays that analyse their relation to their “parent” albums at the Topkapı Palace or examine specific works by reflecting upon their role in the larger history of book art in Iran. Other essays cover aspects such as the European and Chinese influence on Persianate art, aspects related to material and social culture, and the Ottoman interest in Persianate albums. This book marks an important contribution to the understanding of the development of illustrative imagery in the Persianate world and its later perception.
Contributors are: Serpil Bağcı, Barbara Brend, Massumeh Farhad, Julia Gonnella, Claus-Peter Haase, Oliver Hahn, Robert Hillenbrand, Yuka Kadoi, Charles Melville, Gülru Necipoğlu, Bernard O'Kane, Filiz Ҫakır Phillip, Yves Porter, Julian Raby, Christoph Rauch, Simon Rettig, David J. Roxburgh, Karin Rührdanz, Zeren Tanındı, Lâle Uluç, Ching-Ling Wang, and Friederike Weis.
Contributors are: Serpil Bağcı, Barbara Brend, Massumeh Farhad, Julia Gonnella, Claus-Peter Haase, Oliver Hahn, Robert Hillenbrand, Yuka Kadoi, Charles Melville, Gülru Necipoğlu, Bernard O'Kane, Filiz Ҫakır Phillip, Yves Porter, Julian Raby, Christoph Rauch, Simon Rettig, David J. Roxburgh, Karin Rührdanz, Zeren Tanındı, Lâle Uluç, Ching-Ling Wang, and Friederike Weis.
Contexts and Contents
The five Diez albums in Berlin, acquired by Heinrich Friedrich von Diez in Constantinople around 1789, contain more than 400 figurative paintings, drawings, fragments, and calligraphic works originating for the most part from Ilkhanid, Jalayirid, and Timurid workshops. Gonnella, Weis and Rauch unite in this volume 21 essays that analyse their relation to their “parent” albums at the Topkapı Palace or examine specific works by reflecting upon their role in the larger history of book art in Iran. Other essays cover aspects such as the European and Chinese influence on Persianate art, aspects related to material and social culture, and the Ottoman interest in Persianate albums. This book marks an important contribution to the understanding of the development of illustrative imagery in the Persianate world and its later perception.
Contributors are: Serpil Bağcı, Barbara Brend, Massumeh Farhad, Julia Gonnella, Claus-Peter Haase, Oliver Hahn, Robert Hillenbrand, Yuka Kadoi, Charles Melville, Gülru Necipoğlu, Bernard O'Kane, Filiz Ҫakır Phillip, Yves Porter, Julian Raby, Christoph Rauch, Simon Rettig, David J. Roxburgh, Karin Rührdanz, Zeren Tanındı, Lâle Uluç, Ching-Ling Wang, and Friederike Weis.
Contributors are: Serpil Bağcı, Barbara Brend, Massumeh Farhad, Julia Gonnella, Claus-Peter Haase, Oliver Hahn, Robert Hillenbrand, Yuka Kadoi, Charles Melville, Gülru Necipoğlu, Bernard O'Kane, Filiz Ҫakır Phillip, Yves Porter, Julian Raby, Christoph Rauch, Simon Rettig, David J. Roxburgh, Karin Rührdanz, Zeren Tanındı, Lâle Uluç, Ching-Ling Wang, and Friederike Weis.
Rewriting Kalila wa-Dimna in Timurid Herat
Author:
Kashefi’s Anvar-e Sohayli (15th c. A.D.) is a Persian rewriting of the timeless and influential Kalila wa-Dimna text, done at the Timurid court. Christine van Ruymbeke offers a first in-depth analysis of the contents and style of this important text and also addresses the Kalila wa-Dimna field across its full rewriting history. This analysis shows how Kashefi’s additions function as an invaluable commentary that opens up our understanding and the appreciation of this seminal text. This studies revisits several received ideas and current misapprehensions about the text and shows why it has been such an international best-seller before being unjustly relegated to children’s literature. In Van Ruymbeke’s words, Kalila wa-Dimna is a grim text, exposing the mechanisms of sophisticated psychological manipulation and exploring universal philosophical themes, known since Antiquity and still relevant today.
Rewriting Kalila wa-Dimna in Timurid Herat
Author:
Kashefi’s Anvar-e Sohayli (15th c. A.D.) is a Persian rewriting of the timeless and influential Kalila wa-Dimna text, done at the Timurid court. Christine van Ruymbeke offers a first in-depth analysis of the contents and style of this important text and also addresses the Kalila wa-Dimna field across its full rewriting history. This analysis shows how Kashefi’s additions function as an invaluable commentary that opens up our understanding and the appreciation of this seminal text. This studies revisits several received ideas and current misapprehensions about the text and shows why it has been such an international best-seller before being unjustly relegated to children’s literature. In Van Ruymbeke’s words, Kalila wa-Dimna is a grim text, exposing the mechanisms of sophisticated psychological manipulation and exploring universal philosophical themes, known since Antiquity and still relevant today.
Editor:
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.
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.
Editor:
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.
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.