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Legacy of the Masters: Islamic Painting and Calligraphy (Hardcover)
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Legacy of the Masters: Islamic Painting and Calligraphy (Hardcover)
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A stunning collection, accumulated over many years, of paintings,
drawings and calligraphy of the highest quality mostly created for
albums from the Safavid, Uzbek, Ottoman and Mughal Empires from the
16th to early 19th century. Lavishly illustrated, this unusually
exquisite and scholarly book is a noteworthy addition to its field.
This publication presents a collection of over sixty paintings,
drawings and calligraphic specimens mostly made in the Safavid,
Uzbek, Ottoman and Mughal Empires in the period from the 16th
through the early 19th century for inclusion in albums
(muraqqa‘). The compilation of these albums, involving the
collection and ordering of the works to be included as well as the
design and execution of decorative borders, was an art form in
itself and amounted to a broader cultural phenomenon that has
increasingly become the focus of scholarly attention. This was the
age of the master artist, whose work was eagerly sought by
collectors, imitated by admirers and forgers, taken as loot by
invaders, and exchanged as gifts that had value across political
borders. The international currency of a master artist’s work is
particularly apparent in the case of the calligrapher Mir ‘Ali of
Herat (d. 1544), whose calligraphies were almost obsessively sought
out by the Mughal rulers of India and provided a model for
subsequent generations of calligraphers in India and Iran. In Iran,
Shah ‘Abbas’ new capital of Isfahan was the breeding ground for
a generation of artists specialized in single-page calligraphic
compositions, paintings and drawings, often working in distinctive
styles. These included calligraphers such as Mir ‘Imad al-Hasani
and ‘Ali Riza ‘Abbasi, and painters like Riza ‘Abbasi,
Muhammad Qasim and, later, Mu’in Musavvir. The processes of
collection and compilation were complex, as albums were gifted and
reassembled to suit the tastes and outlook of new owners. An
eloquent example of this ongoing evolution is the famous St.
Petersburg Album. Compiled and given decorative borders in Iran in
the mid-18th century, the album contains a number of Mughal and
Deccani paintings and drawings presumed to have been taken to Iran
as plunder by Nadir Shah following the invasion of India in 1739.
The end of this tradition is marked in the publication by a number
of works from Mughal-style albums of calligraphy and painting
acquired by officers and administrators of the British East India
Company such as Warren Hastings and William Fraser.
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