Eylem Seç
The Illustrated Manuscript Tradition in Iran, 1040s/1630s-1070s/1660s: Patronage, Production, and Poetics in the Age of the "Fresh Style"
Başlık:
The Illustrated Manuscript Tradition in Iran, 1040s/1630s-1070s/1660s: Patronage, Production, and Poetics in the Age of the "Fresh Style"
Yazar:
Chagnon, Michael, author.
ISBN:
9780438248519
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 electronic resource (654 pages)
Genel Not:
Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.
Advisors: Priscilla P. Soucek Committee members: Sheila R. Canby; Maryam Ekhtiar.
Özet:
This dissertation examines the historical and cultural significance of group of sixteen illustrated manuscripts produced during the second century of Safavid dynastic rule in Iran. Dated between the 1040s/1630s and 1060s/1650s, and including multiple copies each of the Shahnamah of Firdawsi, the Divan of Hafiz, and Suz u Gudaz of Naw'i, the manuscripts are illustrated in interrelated styles associated with several practitioners whose names are known from contemporary signed pictures, including Muhammad 'Ali, Muhammad Yusuf, and Muhammad 'Ali. Four of the manuscripts internally record their patrons as governors of the provincial city of Mashhad, a major Shi'ite pilgrimage destination and an economically and militarily strategic center. Recent studies have therefore posited the existence of a previously unrecognized Mashhad-based school of painting, characterized by a unique style distinct from the visual modes practiced contemporaneously in the royal capital, Isfahan. Many of the remaining twelve manuscripts, which lack a record of their sites of production, have been ascribed to Mashhad based on illustrative style. Less attention has been devoted to the evidence that the group provides more broadly for the patronage, production, use, and appreciation of illustrated books in later Safavid Iran, an area of limited scholarly focus.
This dissertation begins by establishing historical and epistemological frames for investigation. Chapter One presents a brief overview of the Safavid period. Chapter Two delineates boundaries in modern knowledge with respect to manuscript construction, sites of production (including elite patrons' kitabkhanahs), and patron-artist relationships in Safavid Iran. The role of "the painter" in later Safavid culture is also addressed in this chapter: it is argued that past scholarly emphasis upon individual painters' identities is undermined by a scanty textual record and ambiguities in painters' signatures (which become increasingly prevalent during this period). Moreover, stylistic individuality, often considered to be a hallmark of later Safavid painting, may have been a less important factor in visual creativity than previously believed. Instead, Chapter Two emphasizes the prominence imitation of and response to past masters' work in painting of this era, drawing parallels to principles of creativity in the newly emergent "fresh style" of poetry, whose practitioners aimed to disrupt classical conventions and revitalize the poetic canon. Relying on the framework of the preceding chapters, Chapter Three re-examines the codicological, documentary, and stylistic evidence for the "Mashhad school" hypothesis; it is argued that sustained production in that center during the mid-eleventh/seventeenth century remains open to question.
This dissertation then turns to manuscripts that have been ascribed to Mashhad but are insufficiently studied. Chapter Four investigates a deluxe Shahnamah (National Library of Russia, Dorn 333), focusing on its construction, its internal documentation, and the career of its patron, Murtaza Quli Khan Qajar, as recorded in period sources, to suggest that the manuscript was executed according to a piecemeal process that challenges an ascription to any single center. Dorn 333's unique textual and pictorial contents are then examined as evidence for the reception of the Shahnamah among later Safavid military and courtly elites, as inflected through the lens of "fresh-style" poetics. The last two chapters compare multiple copies of the Divan of Hafiz (Chapter Five) and Suz u Gudaz of Naw'i (Chapter Six). The physical features of these manuscripts indicate patronage across the socio-economic spectrum, while text-image analysis suggests that their poems were broadly interpreted and appreciated through the lens of "fresh styles" poetics.
Notlar:
School code: 0146
Tüzel Kişi Ek Girişi:
Mevcut:*
Yer Numarası | Demirbaş Numarası | Shelf Location | Lokasyon / Statüsü / İade Tarihi |
---|---|---|---|
XX(697410.1) | 697410-1001 | Proquest E-Tez Koleksiyonu | Arıyor... |
On Order
Liste seç
Bunu varsayılan liste yap.
Öğeler başarıyla eklendi
Öğeler eklenirken hata oldu. Lütfen tekrar deneyiniz.
:
Select An Item
Data usage warning: You will receive one text message for each title you selected.
Standard text messaging rates apply.