Mostly miniatures : an introduction to Persian painting
著者
書誌事項
Mostly miniatures : an introduction to Persian painting
Princeton University Press, c2000
- タイトル別名
-
La Peinture persane
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 157-161) and index
Translation of: La Peinture persane
内容説明・目次
内容説明
The mention of Persian painting conjures up images of beautifully illuminated manuscripts filled with tiny, intricate pictures, each a miniature festival of color. Anyone who has seen Persian miniatures up close will attest to their captivating power. In this book, the renowned historian of Islamic art Oleg Grabar introduces Western audiences to Persian painting, which consists primarily of miniatures illustrating works of literature, but also includes murals and small ceramics decorated with pictures. The masterpieces of this painting have a visual richness that requires the use of the intellect as well as the eye for their appreciation, and Grabar seeks to situate the reader within their world, that of Islamic culture in Iran from the Middle Ages to Modern times. Through a series of chapters on various aspects of Persian painting, he helps us understand its history, the characteristics that define it, and the delights to be discovered in it. Grabar argues that this genre of painting offers a remarkable example of how books are illustrated in general and of how an Iranian secular taste emerged during centuries dominated by religious art.
He shows that the peculiarities of its historical background gave rise to specific characteristics: striking colors, dematerialization of space, subtle evocations of emotions, simultaneous lyricism and epic. The qualities of Persian painting created a unique aesthetic mood that is related to Persian poetry and Islamic mysticism. It was only at the beginning of the twentieth century that the Western art world began to discover Persian painting. Inspired by its use of pure geometry and vivid palette, Matisse and Kandinsky were among the first modernists to incorporate attributes of Persian art into their work. And now, a century later, interest among museum-goers continues to increase. The allure of Persian painting lies in its absorbing complexities and in the surprising way it speaks to large questions about the nature of art and the perception of its masterpieces. Grabar has written an incomparable book that both explains and re-creates the pleasures of this art.
目次
Acknowledgments vii Introduction 2 Chapter 1: A Little Histotiography 6 Chapter 2: Sources and Resources 14 Chapter 3: Historical and Cultural Context 30 Chapter 4: The major Themes of Persian Painting 82 Chapter 5: Toward an Aesthetic ofPersian painting 122 Notes 148 Bibliography 157 Index 162 Photo Credits 168
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