The Shaping of Persian Art: Collections and Interpretations of the Art of Islamic Iran and Central Asia
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While the impact of the Persian style is undeniably reflected in most aspects of the art and architecture of Islamic Central Asia, this Perso-Central Asian connection was chiefly formed and articulated by the Euro-American movement of collecting and interpreting the art and material culture of the Persian Islamic world in modern times. This had an enormous impact on the formation of scholarship and connoisseurship in Persian art, for instance, with an attempt to define the characteristics of how the Islamic art of Iran and Central Asia should be viewed and displayed at museums, and how these subjects should be researched in academia. This important historical fact, which has attracted scholarly interest only in recent years, should be treated as a serious subject of research, accepting that the abstract image of Persian art was not a pure creation of Persian civilization, but that it can be the manifestation of particular historical times and charismatic individuals. Attention should therefore be given to various factors that resulted in the shaping of "Persian" imagery across the globe, not only in terms of national ideologies, but also within the context of several protagonists, such as scholars, collectors and dealers, as well as of the objects themselves. This volume brings together Islamic Iranian and Central Asian art experts from diverse disciplinary and professional backgrounds, and intends to offer a novel insight into what is collectively known as Persian art.
Persian artists but also the development of the vast Persian manuscript collections that included many Yuka Kadoi and Iván Szántó 17 Iberian Peninsula, Africa, East Asia, South-East Asia, Australia as well as Latin America. On the other hand, the current volume is much concerned with the collecting history of Islamic Persian art in Central and East Europe, intending to challenge a widespread view to the predominance of Ottoman cultural legacy in this region. With the exception of Poland—its
entire heritage to the Athenaeum. Thirty-six paintings from this collection, among which is a beautiful Annunciation by Tintoretto, are now in the NMAR. In terms of Persian art, Esarhu owned a stone-paste Qajar tile with moulded decoration painted under the glaze, featuring a knight on horseback holding a falcon on his arm,19 and a Qajar bath bucket engraved with animals and fantastic creatures (Fig. 1.3). While it is hard to determine where Esarhu acquired these items, we can only suppose that
also made in the centuries before, influenced by Chinese and Iranian wares.10 The plates and dishes show for example all 8 Stuttgart 1995, 308. For a comparative example see Abdullayev et al. 1986, fig. 129. 9 Morozova et al. 1979, 55 and cat. no 69 and 70. For an example from Khuqand (Kokand) dated AH 1320 or 1325/ AD 1902/03 or 1907/08 see Abdullayev et al. 1986, fig. 82. See also Teague 1990, figs. 2 and 7 showing the Bukharan master Salimdjan Khamidov and his apprentices with a plate incised
See, for example, Karabacek 1876. 43 Riegl 1891B and 1892. 39 122 Persian Art in 19th-century Vienna recognition of the importance of Chinese motifs in carpet design and the perception that carpet design is largely based on scrollwork ornamentation. From the contemporary point of view the localisation of a group of carpets to East Turkestan (Xinjiang) and its finding as an important carpet production centre is at least as important as the insight that in the past too many a scrollwork pattern
Österreich”, Wiener Zeitschrift für die Kunde des Morgenlandes, 83: 26-30. Barta, I. (ed.) 2008. Kronprinz Rudolf: Lebensspuren, Vienna. Bock, F. 1865. Katalog der ehemaligen Bock’schen Sammlung von Webereine und Stickereien des Mittelalters und der Renaissance, Vienna. Buchmann, B. M. 1999. Österreich und das Osmanische Reich: Eine bilaterale Geschichte, Vienna. Diba, L. and M. Ekhtiar, (eds.), 1998. Royal Persian Painting: The Qajar Epoch, London. Duda, D. 1985. “Islamische Kunst und der Westen