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GHIASIAN, MOHAMAD REZA (2) answer(s).
 
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ID:   141266


Historical style” of painting for Shahrukh and its revival in the dispersed manuscript of Majmaʿ al-Tawarikh / Ghiasian, Mohamad Reza   Article
Ghiasian, Mohamad Reza Article
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Summary/Abstract One of the most exquisite illustrated books produced under the patronage of Shahrukh is a copy of Majmaʿ al-Tawarikh which was widely dispersed during the twentieth century. The dispersal of the manuscript has strongly influenced and limited its scholarly examination. The present research has traced the folios of this manuscript in numerous collections. By means of comparison with other dated codices, the illustrations of the dispersed manuscript can be classified into three distinctly different groups. This article gives an explanation of why these three styles appear side by side in the manuscript. Thereafter, it focuses on the problem of the authenticity of some of the illustrations of the manuscript.
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2
ID:   158706


Topkapı Manuscript of the Jāmiʿ al-Tawārikh (Hazine 1654) from Rashidiya to the Ottoman Court: A Preliminary Analysis / Ghiasian, Mohamad Reza   Journal Article
Ghiasian, Mohamad Reza Journal Article
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Summary/Abstract The famous Persian version of the Jāmiʿ al-Tawārikh (Hazine 1654) has never been studied with the care it deserves. Since its transcription was completed a year before Rashid al-Din’s execution, it remained unfinished while approximately seven illustrations were inserted into it, and the locations of other illustrations were left blank. Careful examination of the manuscript reveals that almost all of the empty spaces left for narrative illustrations were painted during the last decades of the fourteenth century. Having decided to improve the quality of the manuscript, the kitābkhāna of Shāhrukh, in the fifteenth century, completed the missing passages of text and restored or overpainted some of its illustrations. The dedicatory inscription of Farhād Khān Qarāmānlu indicates that the manuscript was refurbished again in the Safavid period. The last artistic additions to the manuscript were overpainting an illustration and insertion of two illuminated friezes in the Ottoman Istanbul. This paper, which is a result of close examination of the original manuscript, explains the complicated life history of the book.
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