. In invoking God, the author refers to Him as the creator of the divine pen that wrote on the Preserved Tablet ( Levḥ-i Maḥfūẓ ) “all that was and would be” on His order. The creation of the universe is likened to the act of album compiling, using terms from the practice of albummaking: “[He] joined
detail. I approach these albums as photographic objects embedded in particular social relationships and contexts, and discuss how a classed and gendered self emerges in early- to mid-twentieth-century Egypt through a range of practices of which photography-making (and album-making) was part. But I also
/fifteenth century under the Tīmūrids (r. 771–913/1370–1506), and the practice evidently was adopted later by the Akkoyunlu (Āq Qoyunlu) Turkmens (r. 798–914/1396–1508). Album-making continued as a sign...
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.
as “ Portrait ,” “ Acteur ,” or “ Paysage ,” it is in most cases impossible to identify the work, even if the names of the artist and the collector are mentioned in the catalogue. In Part II of the catalogue, the original Japanese titles of the illustrated books and albumsmaking up Part II of
is crucial for our analysis, for it invokes relationships, compositions, and collectivity while providing an opportunity for its owner to record, negotiate, and display her own identity. 5 As recent scholarship has shown, album-making is rooted in the cultural practice of collecting, and represents
move from pleasure to learning. Kalender’s role, in short, was powerful, for his album-making brought these works to their full potential. If album-making does indeed enhance the astonishing quality of these works, one wonders how the album functions as a visual object, as an organized conduit to
–35 (Ms. Add. MS 176, Bodleian Library, Oxford University). For the former, see David J. Roxburgh, “ ‘Our Works Point to Us’: AlbumMaking, Collecting and Art (1427–1565) under the Timurids and Safavids,” 3 vols. (PhD diss., Uni- versity of Pennsylvania, 1996), 2:697; for the latter, see the Shahnama
get rid of a number of items. In June a prospectus for the book trade appeared for the Letter-albummaking it available at a discount for a limited time. The complete set cost only fl . 1.60: ‘I have chosen this moment in time to concentrate my attention on the Gentlemen House and Decorative
Sultan is part of TSMK, B. MS 411. David J. Roxburgh, “‘Our Works Point to Us’: AlbumMaking, Collecting, and Art (ca. 1427–1565) under the Timurids and Safavids” (PhD diss., University of Pennsylvania, 1996), 489–643; David J. Roxburgh, The Persian Album, 1400–1600: From Dispersal to Collection (New