The album of the world emperor : cross-cultural collecting and the art of album-making in seventeenth-century Istanbul
Author(s)
Bibliographic Information
The album of the world emperor : cross-cultural collecting and the art of album-making in seventeenth-century Istanbul
Princeton University Press, c2019
- Other Title
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The album of the world emperor : cross-cultural collecting and the art of album-making in 17th-century Istanbul
Available at 2 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 175-193) and index
Description and Table of Contents
Description
The first study of album-making in the Ottoman empire during the seventeenth century, demonstrating the period's experimentation, eclecticism, and global outlook
The Album of the World Emperor examines an extraordinary piece of art: an album of paintings, drawings, calligraphy, and European prints compiled for the Ottoman sultan Ahmed I (r. 1603-17) by his courtier Kalender Pasa (d. 1616). In this detailed study of one of the most important works of seventeenth-century Ottoman art, Emine Fetvaci uses the album to explore questions of style, iconography, foreign inspiration, and the very meaning of the visual arts in the Islamic world.
The album's thirty-two folios feature artworks that range from intricate paper cutouts to the earliest examples of Islamic genre painting, and contents as eclectic as Persian and Persian-influenced calligraphy, studies of men and women of different ethnicities and backgrounds, depictions of popular entertainment and urban life, and European prints depicting Christ on the cross that in turn served as models for apocalyptic Ottoman paintings. Through the album, Fetvaci sheds light on imperial ideals as well as relationships between court life and popular culture, and shows that the boundaries between Ottoman art and the art of Iran and Western Europe were much more porous than has been assumed. Rather than perpetuating the established Ottoman idiom of the sixteenth century, the album shows that this was a time of openness to new models, outside sources, and fresh forms of expression.
Beautifully illustrated and featuring all the folios of the original seventy-page album, The Album of the World Emperor revives a neglected yet significant artwork to demonstrate the distinctive aesthetic innovations of the Ottoman court.
by "Nielsen BookData"