ISLAMIC CHINOISERIE THE ART OF MONGOL IRAN PDF

Author: Yuka Kadoi. It has long been accepted that the formation of the Mongol Empire by Chinggis Khan at the beginning of the thirteenth century was one of the defining moments in world history. The Mongol Empire was the largest contiguous land empire in history, connecting the two edges of the Eurasian land mass under a single political authority. The Mongol rulers favoured interregional long distance trade at the expense of agriculture, and introduced new techniques of politics, law, and warfare in the places where they were in power. After more than two centuries of scholarship on the Mongol Empire, we now have a fairly sophisticated understanding of the empire itself and of its organization, but we still know very little about the Mongol legacy in the regions where they ruled in the late medieval and early modern periods.

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Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? This beautifully illustrated history of Safavid Isfahan explores the architectural and urban forms and networks of socio-cultural action that reflected a distinctly early-modern and Perso-Shi'i practice of kingship. An immense building campaign, initiated in , transformed Isfahan from a provincial, medieval, and largely Sunni city into an urban-centered representation of the first Imami Shi'i empire in the history of Islam.

The historical process of Shi'ification of Safavid Iran and the deployment of the arts in situating the shifts in the politico-religious agenda of the imperial household informs Sussan Babaie's study of palatial architecture and urban environments of Isfahan and the earlier capitals of Tabriz and Qazvin.

Babaie argues that since the Safavid claim presumed the inheritance both of the charisma of the Shi'i Imams and of the aura of royal splendor integral to ancient Persian notions of kingship, a ceremonial regime was gradually devised in which access and proximity to the shah assumed the contours of an institutionalized form of feasting.

Talar-palaces, a new typology in Islamic palatial designs, and the urban-spatial articulation of access and proximity are the architectural anchors of this argument. Cast in the comparative light of urban spaces and palace complexes elsewhere and earlier in the Timurid, Ottoman, and Mughal realms as well as in the early modern European capitals Safavid Isfahan emerges as the epitome of a new architectural-urban paradigm in the early modern age.

Read more Read less. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Previous page. How to Read Islamic Calligraphy. Next page. Customers who viewed this item also viewed. The Art and Architecture of Islam, Review "Yuka Kadoi accomplishes her goals fully, thereby providing a reliable and beautifully produced study against which all later studies of the subject will be measured. No customer reviews.

How does Amazon calculate star ratings? The machine learned model takes into account factors including: the age of a review, helpfulness votes by customers and whether the reviews are from verified purchases. Review this product Share your thoughts with other customers. Write a customer review. Most helpful customer reviews on Amazon. Verified Purchase. Key among these are China's artistic influence on countries located to its west--as opposed to the east like Japan--and its impact on the Islamic visual arts of Persia in particular.

The pivotal century under examination is the 13th, when the Mongols not only ruled China as the Yuan Dynasty but also expanded their empire westward into Central Asia, thereby creating new opportunities for Chinese artistic canons to influence other cultures.

In structuring her book, Kadoi divided the chapters according to types of artistic endeavor, starting with textiles, moving on to ceramics and metalwork, and concluding with manuscript painting.

Although she proceeds by first describing Chinese models, it is her examination of Persian adaptations that provide the most valuable insights, for the Western world's understanding of Chinese art far exceeds that of Islamic art. Kadoi's book, published as part of Edinburgh University's Studies in Islamic Art series is targeted at an academic audience. It is, however, appropriate as well for a wider audience curious about Islamic art in general. And this is true to an even greater degree in examining the Islamic manuscript illustrations that Dr.

Michael Barry presents in "The Canticle of the Birds," the recently reissued version of Attar's medieval Sufi poem epic. Go to Amazon. Back to top. Get to Know Us. Shopbop Designer Fashion Brands. Alexa Actionable Analytics for the Web.

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Islamic Chinoiserie: The Art of Mongol Iran

The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art. Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale under the auspices of the Pax Mongolica. With the fascination of portable objects brought from China and Central Asia, a distinctive, hitherto unknown style-Islamic chinoiserie-was born in the art of Iran. Highly illustrated, Islamic Chinoiserie offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols. By using rich visual materials from various media of decorative and pictorial arts-textiles, ceramics, metalwork and manuscript painting-the book illustrates the process of adoption and adaptation of Chinese themes in the art of Mongol-ruled Iran in a visually compelling way. The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages.

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Islamic Chinoiserie Yuka Kadoi. Edinburgh, Edinburgh University Press, , p. However an overview of the phenomenon has yet to be made. Articles by Nancy Shatzman Steinhardt on the copy Chinese paintings by medieval central Asian artists are an excellent example of the minute inquires needed at the level of individual objects before any overview can be made. The multi-cultural education of researchers and a team approach are the keys to accessing sources originating in eastern and western Asia.

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