Art
Leila Ghaffari; Jamal Arabzadeh
Abstract
The present book, entitled Qajar Portraits, in the form of a handbook by Julian Raby, a researcher in the field of Islamic Art and former director of the Freer and Sackler Gallery in Washington, was published in continuation of the "Qajar Royal Paintings" exhibition which was held in London in 1999. ...
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The present book, entitled Qajar Portraits, in the form of a handbook by Julian Raby, a researcher in the field of Islamic Art and former director of the Freer and Sackler Gallery in Washington, was published in continuation of the "Qajar Royal Paintings" exhibition which was held in London in 1999. The author's purpose in writing this book, in addition to introducing the 43 works displayed in the exhibition, is the visual analysis of these works in a socio-historical context. The period intended by Raby in this book is not the whole of the Qajar age, but a century of it, including the beginning of the reign of Fath Ali Shah until the end of the reign of Nasser al-Din Shah (1213-1313 AH). Because from the author's point of view, these two kings had a special place in the development of Visual Arts, or in other words, the Image in the Qajar age. In this study, we also intend to review the method of presenting and examining the visual works mentioned in this book, identify the mental pattern used by Raby in classifying and introducing them, and based on that, his approach to analyze the Visual Arts of the Qajar age, whose works are often created in the context of the artistic main stream of that time, named Royal Portraiture.
Art
Leila Ghaffari; Davoud Ranjbaran
Abstract
Mitsukuni Yoshida, a former professor and director of Kyoto University, is one of the Japanese researchers in the field of Persian Pottery studies who has traveled to various historical and archeological sites in Iran and also Hormoz Island in the 1960s. He has written his findings on the history and ...
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Mitsukuni Yoshida, a former professor and director of Kyoto University, is one of the Japanese researchers in the field of Persian Pottery studies who has traveled to various historical and archeological sites in Iran and also Hormoz Island in the 1960s. He has written his findings on the history and techniques of creating Persian Pottery in the form of a book entitled In Search of Persian Pottery. In this article, by reviewing the present book as a worthwhile source in the field of Persian Pottery History, the author's perception of the evolution of this ancient art and the type of his encounter with the category of stylistics Persian Pottery has been reviewed. On this basis, Yoshida's view was not only to describe his observations of Persian Pottery, but also to study the stylistics and works of Persian Pottery in terms of recognizing their cultural and linguistic origins. Considering his membership in the Japan Anthropological Institute, his treatment of the anthropological aspects of the art of Pottery in this work is not far off. Also, the role of cultural commonalities of the Oriental countries in shaping his attitude towards Pottery and Persian Pottery as an Oriental researcher is important.
Art
Marziyeh Ghasemi
Abstract
The history of Persian art is replete with many unique artworks and fine artifacts today reserved inside and outside Iran. Enjoying certain historical and cultural features, such works of art and other traditional handicrafts could be categorized in different groups. Despite large-scale production and ...
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The history of Persian art is replete with many unique artworks and fine artifacts today reserved inside and outside Iran. Enjoying certain historical and cultural features, such works of art and other traditional handicrafts could be categorized in different groups. Despite large-scale production and vast artistic movements, Persian art had not been recorded in an academic, scholarly manner just until the Qajar period. Before this event, the accounts and records left from art of Persia were just limited to artists, not artworks and the related categories. With regard to this shortage, Persian Art would be considered as the first independent research done by a Scot named Sir Robert Murdoch Smith in a period when there was rarely, if any recognition of art and artworks. This book was composed in the Qajar period for the purpose of introducing Persian arts to the South Kensington (now Victoria & Albert) Museum, England. Although some sections and subjects of the book seems quite evident today, or may need revision, it contains some invaluable ideas and information from that time. Furthermore, the book could be regarded as a pioneer in the study of Orientalism which forms the basis of a more extended field, i.e. Islamic art.
