From the Black Sea Through Persia and India PDF Download
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Author: Edwin Lord Weeks
Publisher:
ISBN:
Category : India
Languages : en
Pages : 464
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Book Description
Author: John Frederick Lewis
Publisher:
ISBN:
Category : Illumination of books and manuscripts
Languages : en
Pages : 112
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Book Description
Author: Pennsylvania academy of the fine arts
Publisher:
ISBN:
Category :
Languages : en
Pages : 83
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Book Description
Author: John Frederick Lewis
Publisher:
ISBN:
Category : Illumination of books and manuscripts
Languages : en
Pages : 83
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Book Description
Author: Pennsylvania Academy of the Fine Arts
Publisher:
ISBN:
Category : Illumination of books and manuscripts
Languages : en
Pages : 83
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Book Description
![Paintings and Drawings of Persia and India (with Some Others) ... Illuminated Manuscripts in Persian, Arabic, Ethiopic, Sanscrit, Armenian, Hindi, Burmese, Etc., from the XVth to the XIXth Century, from the Collecion of John Frederick Lewis ... [From December 17 to January 10] 1923-1926 PDF](https://books.google.com/books/content/images/frontcover/JhFctwAACAAJ?fife=w80-h100)
Author: Pennsylvania Academy of the Fine Arts
Publisher:
ISBN:
Category : Illumination of books and manuscripts
Languages : en
Pages : 83
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Book Description
Author:
Publisher:
ISBN:
Category : Illumination of books and manuscripts, Iranian
Languages : en
Pages : 83
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Book Description
Author: Edwin Lord Weeks
Publisher:
ISBN:
Category : India
Languages : en
Pages : 464
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Book Description
Author: Stuart Cary Welch
Publisher: Harvard Art Museums
ISBN: 9780300104738
Category : Art
Languages : en
Pages : 249
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Book Description
02 A superb selection of drawings from the extraordinary collection of Stuart Cary WelchStuart Cary Welch’s collection of Persian, Turkish, and Indian art is renowned throughout the world for its quality and depth. In 1999, Welch made a generous gift of drawings to the Harvard University Art Museums, which form the basis of the present catalogue. Spanning five centuries and extending from Istanbul to Calcutta, these drawings represent the great empires of the Ottomans in Turkey, the Safavids in Iran, and the Mughals in India as well as numerous regional Hindu kingdoms. This beautifully illustrated book presents more than seventy exquisite drawings—some of which are counted among the greatest Indian, Persian, or Turkish drawings ever made—and explores the connections between the arts and artists of the three cultures.As with drawings from European traditions, the works display an immediacy that is often absent in paintings. The drawings deal with fascinating and diverse subjects ranging from court portraits, stories from fable and myth, and hunting scenes to animals, flowers, and people sketched from life. The contributors to the book shed light on various aspects of the drawings and the artists, and Welch offers an engaging account of his trials and triumphs while acquiring the works in his unparalleled collection. This book is the catalogue for an exhibition at the Asian Art Museum of San Francisco (September 17 to November 28, 2004) and at the Harvard University Art Museums (March 19 to June 12, 2005).Stuart Cary Welch is curator emeritus, Department of Islamic and Later Indian Art, Harvard University Art Museums; Kimberly Masteller is assistant curator of Islamic and Later Indian Art at the Arthur M. Sackler Museum, Harvard University Art Museums. A superb selection of drawings from the extraordinary collection of Stuart Cary WelchStuart Cary Welch’s collection of Persian, Turkish, and Indian art is renowned throughout the world for its quality and depth. In 1999, Welch made a generous gift of drawings to the Harvard University Art Museums, which form the basis of the present catalogue. Spanning five centuries and extending from Istanbul to Calcutta, these drawings represent the great empires of the Ottomans in Turkey, the Safavids in Iran, and the Mughals in India as well as numerous regional Hindu kingdoms. This beautifully illustrated book presents more than seventy exquisite drawings—some of which are counted among the greatest Indian, Persian, or Turkish drawings ever made—and explores the connections between the arts and artists of the three cultures.As with drawings from European traditions, the works display an immediacy that is often absent in paintings. The drawings deal with fascinating and diverse subjects ranging from court portraits, stories from fable and myth, and hunting scenes to animals, flowers, and people sketched from life. The contributors to the book shed light on various aspects of the drawings and the artists, and Welch offers an engaging account of his trials and triumphs while acquiring the works in his unparalleled collection. This book is the catalogue for an exhibition at the Asian Art Museum of San Francisco (September 17 to November 28, 2004) and at the Harvard University Art Museums (March 19 to June 12, 2005).Stuart Cary Welch is curator emeritus, Department of Islamic and Later Indian Art, Harvard University Art Museums; Kimberly Masteller is assistant curator of Islamic and Later Indian Art at the Arthur M. Sackler Museum, Harvard University Art Museums.
Author: Nasir Raza Khan
Publisher: Taylor & Francis
ISBN: 1000477576
Category : History
Languages : en
Pages : 221
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Book Description
This book presents a comprehensive overview of the historical and cultural linkages between India and Iran in terms of art and architectural traditions and their commonality and diversity. It addresses themes such as early connections between Iran, India and Central Asia; study of the Qutb Complex in Delhi; the great immigration of Turks from Asia to Anatolia; the collaboration of Indian and Persian painters; design, ornamentation techniques and regional dynamics; women and public spaces in Shahjahanabad and Isfahan; the noble-architects of emperor Shah Jahan's reign; development of Kashmir’s Islamic religious architecture in the medieval period; role of Nur Jahan and her Persian roots in the evolution of the Mughal Garden; synthesis of Indo-Iranian architecture; and confluence of Indo-Persian food culture to showcase the richness of art, architecture, and sociocultural and political exchanges between the two countries. Bringing together a wide array of perspectives, it delves into the roots of connection between India and Iran over centuries to understand its influence and impact on the artistic and cultural genealogy and the shared past of two of the oldest civilizations and regional powers of the world. With its archival sources, this book will be useful to scholars and researchers of medieval history, Indian history, international relations, Central Asian history, Islamic studies, Iranian history, art and architecture, heritage studies, cultural studies, regional studies, and South Asian studies as well as those interested in the study of sociocultural and religious exchanges.
Author: Willem M. Floor
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 236
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Book Description
Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.
