nvestigates the interaction between word and image in medieval Persian art through a series of case studies Technically some of the finest produced anywhere, the artworks created in greater Iran from the tenth to the sixteenth century are also intellectually engaging in showing the lively interaction between the verbal and the visual arts. Focusing on five objects produced in the main media used during this period (ceramics, metalwares, architecture, illustrated manuscripts, and textiles), this beautifully illustrated study shows how artisans played with form, material, and decoration to engage and "speak to" their audiences.It also shows how the reception of these objects has changed and demonstrates that their present context "“ whether on a museum shelf or in the middle of an excavation "“ has implications for our understanding of the past. Each chapter begins with a careful study of the object and moves to broader theories of function, reception, and display.Key FeaturesIncludes over 100 colour illustrations of the objects and buildings explored in the textStudies five different media: ceramics, metalwares, architecture, illustrated manuscripts, and textilesLooks at what happened to the objects since production and the impact of their current displayGives a nuanced view of Persian art in the context of Iranian history

lgli/Sheila S. Blair - Text and Image in Medieval Persian Art (2019, Edinburgh Studies in Islamic Art).pdf

zlib/Arts/Painting/Sheila S. Blair/Text and Image in Medieval Persian Art_19255833.pdf

Text and Image in Persian Art: From the Samanids to the Safavids (Edinburgh Studies in Islamic Art)

BLAIR 9780748655786 PRINT.indd

Blair, Sheila S.;

AndysiMac

Edinburgh University Press

Polygon

Edinburgh studies in Islamic art, Edinburgh, cop. 2014

Edinburgh studies in Islamic art, Edinburgh, 2013

Edinburgh University Press, Edinburgh, 2014

United Kingdom and Ireland, United Kingdom

1, PS, 2013

1, 2019

producers:
Acrobat Distiller 8.2.2 (Macintosh)

Contents 6
List of Figures 8
Series Editor’s Foreword 14
Preface 15
CHAPTER 1 Introduction 18
CHAPTER 2 The Art of Writing: A Bowl from Samarqand 28
Provenance 34
The ceramic setting 40
Inscriptions 47
Script 52
Clientele 55
Wider horizons 58
Afterlife 65
CHAPTER 3 Perfuming the Air: A Rosewater Sprinkler from Herat 74
Provenance 78
The geographical and historical setting 84
Metalwares from Herat 95
Patronage 101
Function 104
Decoration 110
Afterlife 114
CHAPTER 4 Monumentality under the Mongols: The Tomb of Uljaytu at Sultaniyya 129
Construction and redecoration 134
Reasons for redecoration 139
The pious foundation 145
The architectural setting 153
The tomb as inspiration for later Mongol rulers 163
The tomb as inspiration for the Ilkhanids’ rivals 170
Afterlife 176
CHAPTER 5 A Romantic Interlude: The Wedding Celebrations from a Manuscript withThree Poems by Khwaju Kirmani 189
The text and its calligrapher 192
The illustrated folios 200
Adding the paintings 210
The royal setting 213
The role of women 220
Afterlife 227
CHAPTER 6 Proclaiming Sovereignty: The Ardabil Carpets 245
Provenance 250
The inscription 251
Gifts to shrines 259
Why Ardabil in the 1540s? 266
The repurposed Jannat Saray 274
Afterlife at the shrine 280
Afterlife in the west 283
CHAPTER 7 Conclusion 301
List of Abbreviations 309
Bibliography 310
Illustration Acknowledgments 336
Index 339

This book investigates the interaction between word and image in medieval Persian art. Greater Iranian arts from the 10th to the 16th century are technically some of the finest produced anywhere. They are also intellectually engaging, showing the lively interaction between the verbal and the visual arts. Focusing on objects found in the main media at the time, Sheila S. Blair shows how artisans played with form, material and decoration to engage their audiences. She also shows how the reception of these objects has changed and that their present context has implications for our understanding of the past. It is lavishly illustrated in colour. It features five case studies - on ceramics, metalwares, painting, architecture and textiles - that showcase the variety of Persian art. It investigates the interaction between the visual and the verbal in a multi-lingual society. It looks at the transformation of everyday objects into works of art. It is written by one of the foremost experts in Persian art

This book investigates the interaction between word and image in medieval Persian art. Greater Iranian arts from the 10th to the 16th century are technically some of the finest produced anywhere. They are also intellectually engaging, showing the lively interaction between the verbal and the visual arts. Focusing on objects found in the main media at the time, Sheila S. Blair shows how artisans played with form, material and decoration to engage their audiences. She also shows how the reception of these objects has changed and that their present context has implications for our understanding of the past. It is lavishly illustrated in colour. It features 5 case studies - on ceramics, metalwares, painting, architecture and textiles - that showcase the variety of Persian art. It investigates the interaction between the visual and the verbal in a multi-lingual society. It looks at the transformation of everyday objects into works of art. It is written by one of the foremost experts in Persian art.

Greater Iranian arts from the 10th to the 16th century are technically some of the finest produced anywhere. Focusing on objects found in the main media at the time, the author shows how artisans played with form, material and decoration to engage their audiences.

Focusing on 5 objects found in the main media from the 10th to the 16th century - ceramics, metalware, painting, architecture and textiles - Sheila S. Blair shows how Greater Iranian artisans played with form, material and decoration to engage their audiences.

2022-02-27