By Alice Taylor
Released to coincide with an exhibition on the J.Paul Getty Museum, this e-book explores the colourful creative legacy of the capital urban of the Safavid Empire in seventeenth-century Persia. Isfahan used to be a crossroads of foreign exchange and international relations and, for this reason, turned a kaleidoscope of resident languages and religions. The artists of the town have been remarkably conscious of the actual and mental range of its many peoples: Armenians, Uzbeks, Turks, Christians, and Jews. So exact used to be their technique that paintings historians now recognize an Isfahan variety. Book Arts of Isfahan brings jointly dozens of miniatures, such a lot of them drawn from the collections of the Getty Museum, the college of California, la, and the l. a. County Museum of paintings. With Alice Taylor's concise and readable textual content, they supply a good review of the books and manuscripts produced within the Isfahan sort.
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Additional info for Book arts of Isfahan : diversity and identity in seventeenth-century Persia
The noble bowman of the drawing was passing from the scene; if he existed at all by the time the image was made (no earlier than about 1600), he would probably be found among the Uzbek enemy. The interest in depicting foreign types often makes attribution of miniatures to Isfahan difficult since we cannot use the ethnic origin of the subject as an indication of the source of the image. It is possible that the Captive Uzbek is a copy of an Isfahan drawing made for an Ottoman audience. The similarities "Isfahan Style" Miniatures * 17 PLATE 3 A Captive Uzbek Isfahan, ca.
Isfahan Style" Miniatures * 27 woodcut must have been admired in Isfahan, for the Persian artist copied it PLATE 8 Majnun in the Wilderness nearly line for line. The reversal of the image may indicate the use of a mechanical aid, such as pouncing. , The Art Shah 'Abbas II himself studied drawing with Dutch painters, and his son, Shah Sulaiman, supported Muslim painters whose work features so many European elements that scholars once commonly assumed that they must have and History Trust Collection.
Simpson, Marianna Shreve. " Studies in the History of Art 3% (1993): 104-21. 30 «• Book Arts of Isfahan Soudavar, Abolalar. Art of the Persian Courts: Selections from the Art and History Trust Collection (New York, 1992). Welch, Anthony. Artists for the Shah: Late-Sixteenth-Century Painting at the Imperial Court of Iran (New Haven, 1976). " Iranian Studies 7 (1974)1458-507. Shah 'Abbas and the Arts of Isfahan (New York, 1974). Imagining a Persian Community: Judco'Pcrsian Illustrated Manuscripts w E TURN FROM art made in the highest circles of Isfahan society to a set of manuscripts whose interest lies precisely in the fact that they came from the fringes of the capital.