This volume contains album prefaces in the original Persian version with English translation, miscellaneous documents relating to calligraphers and painters, and specimens of travel literature from the Timurid and Safavid periods.
) The motifs and colors of the illuminations at the beginning of all three albumprefaces relate to those of a tughra (calligraphic monogram) of Sultan Ahmed I that was signed by Kalender and appears at the beginning of the Fālnāme (Book of Omens), his final work (fig. 5). The stylistic similarity
This book studies developments in art historical writing and factors which shaped the album preface. The prefaces were written in Persian between ca. 1491 and 1609 to introduce albums of calligraphy, painting, and drawing assembled for Safavid rulers and courtiers.
Approaches to the study of these sources are examined, followed by an analysis of the sociohistorical court-centered context; the circumstances of the texts' composition, reception, and literary dimensions; and their art historical formation and content. It ends with an interpretation of calligrapher Dust Muhammad's preface and his conceptualization of a history and aesthetics of depiction.
The book is the first to study the prefaces collectively and in relationship to other cultural practices. It also draws on a wide variety of additional primary sources. It includes forty illustrations and several tables.
anthologies combining the biographies of calligraphers and painter-decorators. These literary genres were partly rooted in late fifteenth-century Timurid precedents such as albumprefaces and biographical dictionaries of poets, which started to incorporate artists and calligraphers who wrote poetry. 16
retrouve cette tradition des « sept maîtres » dans la tradition persane fixée par la Risâla-’i al-Quṭbiyya (p. 197) chez Dust Muḥammad en 1544 (« The Bahram Mirza AlbumPreface by Dost-Muhammad », in W.M. Thackson, AlbumPrefaces and Other Documents on the History of Calligraphers and Painters , Brill
Emperor Akbar’s exceptional interest in Christianity is reflected in many ways. Among these was his commissioning in 1602 of a Life of Christ from his guest, the Jesuit priest Jerome Xavier, thus marking a singular moment in the relations between one of the greatest Muslim rulers and Catholicism. This fascinating text—translated into English for the first time—draws mostly on Biblical and apocryphal sources, but also reveals that in order not to antagonize his Muslim hosts, Father Jerome occasionally made concessions in his work. Of the three illustrated copies, the one used in this study and now in the Cleveland Museum of Art is the most important. Its twenty-seven high-quality miniatures were inspired by the text itself, resulting in unique interpretations of episodes that often do not find parallels in a European context.
consul- tant for AKPIA-sponsored publications, deserves a special round of applause. A passage in highly me- taphorical language drawn from a Persian albumpreface expresses a sentiment shared by many authors with whom Margie has worked: When he reached the limits of [its] completion, he hoped that if
–1576 . Milan : Skira Editore , 2003 . Thackston Wheeler M. AlbumPrefaces and Other Documents on the History of Calligraphers and Painters . Leiden, Boston, Köln : Brill , 2001 . Treadwell Luke . Craftsmen and Coins: Signed Dies in the Iranian World (Third to the Fifth Centuries AH) . Vienna : Verlag des
organization of the Menāḳıb-ı Hünerverān hints at this as well. Much like sixteenth-century treatises on art in the form of albumprefaces, emphasis is placed on calligraphy—here, treated in separate chapters according to style—followed by other forms of the art of the book including decoupage, painting
calligraphers and painters followed in the wake of pre-modern Islamic ones, the earliest of which seems to be the mid-sixteenth century albumpreface by Dūst Muḥammad (“The Bahram Mirza AlbumPreface by Dost-Muhammad”, ed. and trans. Wheeler M. Thackston, in AlbumPrefaces and Other Documents on the History of