L'éditrice Diane de Selliers publie Ramayana, texte fondateur de la civilisation indienne. Un véritable objet d'art, illustré de 660 miniatures sélectionnées auprès des musées et des collectionneurs.
Оригинал взят у ruffe в Персидские миниатюры из коллекции Тегеранского музея современного искусства And here are some weirdly kinetic fortification walls. The swirling vortex of extruded geology. The stage for a battle scene or a weaponized terrestrial tsunami? One wonders if 16th century Persian…
"The Apocalypse, or Book of Revelation, is not only the last Book of the New Testament, but its most difficult, puzzling, and terrifying. It...
LES IMAGES DU DIABLE —————————————— 1ère partie - 1000/1500. Le Diable occupe une grande place dans l'art religieux occidental. On ne recherchera pas ici ses origines avant l'An Mil. Mais de qui parle-t-on ? « Il n'y a pas de réelle distinction iconographique...
"The Apocalypse, or Book of Revelation, is not only the last Book of the New Testament, but its most difficult, puzzling, and terrifying. It...
In a monastery in the mountains of northern Spain, 700 years after the Book of Revelations was written, a monk set down to illustrate a collection of writings he had compiled about this most vivid and apocalyptic of the New Testament books. Throughout the next few centuries his depictions of multi-headed beasts, decapitated sinners, and trumpet blowing angels, would be copied over and over again in various versions of the manuscript. John Williams, author of *The Illustrated Beatus*, introduces Beatus of Liébana and his Commentary on the Apocalypse.
A miniature from an antique Turkman Shahnama dated 1071 H.E.(17th century).
Senior Research Assistant Courtney A. Stewart highlights a selection of African Indian leaders who rose to the rank of nobility within the Deccan's multicultural society.
Au début de l’été, j’ai décidé de passer quelques temps dans un ashram. Le souvenir de mon séjour à Neyyar Dam, en Inde, il y a quelques années était encore bien présent, et je me réjouissais de re…
ورود عزیز و زلیخا به مصر و استقبال مصریان از ایشان، مشهد، 1560 میلادی، گالری هنر فریر Yusuf & Zulaykha The Aziz and Zulaykha Enter the Capital of Egypt and Egyptians Come out to Greet Them. Zulaykha becomes overjoyed when her father arranges her marriage to the governor of Egypt, whom she believes to be the handsome youth in her dreams. Upon arriving in Egypt, she realizes that he is not the man of her dreams and falls into despair. At down, the governor arrives at Zulaykhaha's tent to escort her to his capital on the banks of the Nile, where he and his bride are greeted by thousands of cheering people. artist unknown Folio from a Haft awrang (Seven thrones) by Jami (d.1492) opaque watercolor, ink and gold on paper Height: 34.2 cm (13.5 in). Width: 23.2 cm (9.1 in).
بهرام چوبین ساوه شاه را می کشد منسوب به باشدن قرا، برگی از شاهنامه شاه تهماسبی (طهماسبی) موزه رضا عباسی Bahram choubin Slays Saveh, Shah in battle Attributed to Bashdan Ghara Shah Tahmaseb Shahnamah First half of 16 century Reza Abbassi Musium Tehran, Iran
This is the second of two miniatures in the Read Mughal Album that were formerly part of the British Library's Bāburnāma (Memoirs of Bābur). According to Bābur, when he looked back to see how far Qambar-˓Alī and Qasim Beg were behind him, his girth strap snapped, causing him to fall on his head. "Although I stood up immediately and got back on," he wrote, "my brain did not return to normal until that evening." This miniature is probably by the artist Parasa, to whom four others in the British Library's manuscript have been attributed.
برگی از شاهنامه شاه طهماسب: كشتن گشتاسب، اژدها را، میرزا علی، دوره صفوی، تبریز، در حدود 1531-33 میلادی. Folio From The Shahnama Of Shah Tahmasp: Gushtasp Slays A Dragon On Mount Saqila Geography Iran Period Safavid, circa 1530-35 CE Dynasty Safavid Materials and technique Watercolour, gold and ink on paper Dimensions Page 47 x 31.8 cm Description This illustration is from Shah Tahmasp’s Shahnama, one of the most remarkable Persian manuscripts which was started when Shah Tahmasp returned to Tabriz from Herat in 1522 CE. Over a dozen painters, at least two calligraphers, two or more miniaturists, bookbinders, persons responsible for polishing, gold stippling and margin creation, with a whole team of assistants, pooled their talents to design the most sumptuous manuscript ever produced in Iran for a century. In the twentieth century, the manuscript lost its colophon and a large part of the research work done by art historians focused then on the identification of the workshop chiefs and painters. Before it was dismantled in the 1970s, the complete manuscript consisted of 380 folios, including 258 miniatures. The manuscript bears two signatures - of both Mir Musavvir and Dust Muhammad - and a date: 934 H/1527–28 CE. It is thought that two paintings done on thicker paper were added later, between 1535 CE and 1540 CE, when the manuscript had already been completed (Welch 1979b, pp. 39 et 90). The paintings of this manuscript not only reflect the work of several major painters of the sixteenth century, but also plunge us into the daily Safavid court life. Indeed, although the Shahnama depicts the legendary and pre-Islamic history of Iran, the artists represented the characters in clothing from the period of Shah Tahmasp within their context. In some cases, architecturally decorated objects or elements represented in these miniatures have lasted to this day. The style of the miniatures was the subject of a major study (Dickson and Welch 1981), but the aspects of Safavid court life that these paintings reveal are also worthy of interest. Around 1568 CE, Shah Tahmasp gave the manuscript to the Ottoman sultan Selim II and it remained in the Ottoman royal library until the nineteenth century. It is possible that it returned to Iran in the nineteenth century, but, in 1903 CE, it was sold to Baron Edmond de Rothschild and, in 1959 CE, was bought by the American Arthur A. Houghton, Jr. Today, the two largest parts of the manuscript belong to the Metropolitan Museum of Art in New York and to the Islamic Republic of Iran. Isolated illustrations can be found in many private and public collections in Europe and North America. This illustration shows Gushtasp, the son of Shah Luhrasp who travelled to the court of the Qaysar (Caesar) from Rum to Constantinople, killing a dragon. The eldest daughter of the Qaysar immediately fell in love with him and refused to marry any other man, to the great consternation of her father. To avoid the same misfortune befalling his two younger daughters, the Qaysar decreed that only suitors capable of accomplishing heroic feats would be accepted as suitable matches for his young daughters. Fearing failure, the aspirants of the young girls asked Gushtasp to join forces with them and be their secret champion. His second test, as illustrated here, was to kill the dragon of Mount Saqila. Armed with a special dagger, its tip coated with poison, Gushtasp first shot a volley of arrows at the dragon and whilst the latter tried to suck him into his mouth, Gushtasp lunged at him and planted his dagger in the back of his throat. He then decapitated the dying monster and returned to Constantinople, where the Qaysar, recognising his heroism, restored to him and his fiancée the favours of the court of Rum. The painting is attributable to Mirza 'Ali, son of Sultan Muhammad, who was one of the artists of the younger generation who worked on the Shahnama of Shah Tahmasp. The great skill exercised by Mirza 'Ali in describing nature is evident here in the interplay between the pale blue sky and golden hillside, which convincingly portrays a luminous and ethereal atmosphere.
