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The Making of the Artist in Late Timurid Painting / Lamia Balafrej.

By: Material type: TextTextSeries: Edinburgh Studies in Islamic Art : ESIAPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2019Description: 1 online resource (280 p.) : 74 colour illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474437431
  • 9781474437455
Subject(s): DDC classification:
  • 745.67091767 23
LOC classification:
  • ND3243.B4 B35 2019
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Figures -- List of Plates -- Acknowledgements -- Series Editor’s Foreword -- INTRODUCTION Painting about Painting -- PLATES -- CHAPTER 1 Pictorial Preface -- CHAPTER 2 Writing on the Image -- CHAPTER 3 Potential World -- CHAPTER 4 Calligraphic Line -- CHAPTER 5 Wondrous Signature -- EPILOGUE Manuscripts in Motion -- Bibliography -- Illustration Acknowledgements -- Index
Summary: The first exploration of how artists represented artistic work and authorship in Persian paintingIn the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.Key FeaturesThe first book-length study of artistic self-reflection in Islamic artExpands artistic self-representation beyond self-portraiture to consider how the artist could be represented through the symbolic possibilities of the mediumExplores the relationship between Persian painting, historical modes of visual experience at the majlis and conceptions of authorship in art historiographical writingsExamines a series of hitherto unstudied features of Persian painting, including the representation of epigraphic inscriptions and the painter’s signatureProvides the first complete analysis of one of the most important manuscripts in the history of Persianate book arts, the Cairo Bustan
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474437455

Frontmatter -- Contents -- List of Figures -- List of Plates -- Acknowledgements -- Series Editor’s Foreword -- INTRODUCTION Painting about Painting -- PLATES -- CHAPTER 1 Pictorial Preface -- CHAPTER 2 Writing on the Image -- CHAPTER 3 Potential World -- CHAPTER 4 Calligraphic Line -- CHAPTER 5 Wondrous Signature -- EPILOGUE Manuscripts in Motion -- Bibliography -- Illustration Acknowledgements -- Index

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http://purl.org/coar/access_right/c_16ec

The first exploration of how artists represented artistic work and authorship in Persian paintingIn the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.Key FeaturesThe first book-length study of artistic self-reflection in Islamic artExpands artistic self-representation beyond self-portraiture to consider how the artist could be represented through the symbolic possibilities of the mediumExplores the relationship between Persian painting, historical modes of visual experience at the majlis and conceptions of authorship in art historiographical writingsExamines a series of hitherto unstudied features of Persian painting, including the representation of epigraphic inscriptions and the painter’s signatureProvides the first complete analysis of one of the most important manuscripts in the history of Persianate book arts, the Cairo Bustan

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)