The making of the artist in late Timurid painting [Texte imprimé] / Lamia Balafrej

Name: The making of the artist in late Timurid painting [Texte imprimé] / Lamia Balafrej
Author: Balafrej, Lamia (1984-) Voir les notices liées en tant qu'auteur

İsim	The making of the artist in late Timurid painting [Texte imprimé] / Lamia Balafrej
Yazar	Balafrej, Lamia (1984-) Voir les notices liées en tant qu'auteur
Basım Tarihi:	2019
Basım Yeri	Edinburgh -
Konu	Tīmūrides (dynastie) Voir les notices liées en tant que sujet Behzād, Kamāl al-Dīn (1460?-1535?) Voir les notices liées en tant que sujet Enluminure iranienne -- 15e siècle Voir les notices liées en tant que sujet — None — Thèses et écrits académiques Voir les notices liées en tant que genre ou forme
Tür	Kitap
Dil	Arapça
Dijital	Hayır
Yazma	Hayır
Sayfa Sayısı	260
Fiziksel Boyutlar	1 vol. (XIII, 260 p.) : ill. ; 26 cm
Kütüphane:	Fransa Ulusal Kütüphanesi
Demirbaş Numarası	FRBNF45763682
Kayıt Numarası	cb457636825
Lokasyon	Edinburgh studies in Islamic art Voir toutes les notices liées
Tarih	2019
Notlar	Revision of author's doctoral thesis . - Includes bibliographical references (pages 228-247) and index . - Textes en anglais, en persan. - Bibliogr. p. 228-247, index Texte remanié : Thesis : Université Aix-Marseille : 2013 "In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan, made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book argues that Bihzad's paintings defined authorship as making: at once an imaginative process and a manual endeavour."--Jacket
Dizi/Koleksiyon	Edinburgh studies in Islamic art

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The making of the artist in late Timurid painting [Texte imprimé] / Lamia Balafrej

Yazar Balafrej, Lamia (1984-) Voir les notices liées en tant qu'auteur

Basım Tarihi 2019

Basım Yeri Edinburgh -

Konu Tīmūrides (dynastie) Voir les notices liées en tant que sujet Behzād, Kamāl al-Dīn (1460?-1535?) Voir les notices liées en tant que sujet Enluminure iranienne -- 15e siècle Voir les notices liées en tant que sujet — None — Thèses et écrits académiques Voir les notices liées en tant que genre ou forme

Tür Kitap

Dil Arapça

Dijital Hayır

Yazma Hayır

Sayfa Sayısı 260

Fiziksel Boyutlar 1 vol. (XIII, 260 p.) : ill. ; 26 cm

Kütüphane Fransa Ulusal Kütüphanesi

Demirbaş Numarası FRBNF45763682

Kayıt Numarası cb457636825

Lokasyon Edinburgh studies in Islamic art Voir toutes les notices liées

Tarih 2019

Notlar Revision of author's doctoral thesis . - Includes bibliographical references (pages 228-247) and index . - Textes en anglais, en persan. - Bibliogr. p. 228-247, index Texte remanié : Thesis : Université Aix-Marseille : 2013 "In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan, made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book argues that Bihzad's paintings defined authorship as making: at once an imaginative process and a manual endeavour."--Jacket

Dizi/Koleksiyon Edinburgh studies in Islamic art