Relevant bibliographies by topics / Islamic Miniature painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Islamic Miniature painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Islamic Miniature painting"

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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (September 1, 2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Mokhtar, Mumtaz, Nurul Huda Mohd Din, Rashidah Salim, and Nurul Izza Ab Aziz. "Art Appreciation on Mughal Miniature Paintings from Islamic Art Museum Malaysia Kuala Lumpur." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 89–96. http://dx.doi.org/10.21834/ebpj.v7isi9.4251.

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This paper discusses the art appreciation on Mughal miniature paintings from Islamic Art Museum Kuala Lumpur. The focus of appreciation is from five miniature painting had been exhibited at IAMM. Namely The exhibition of 14 Dynasties and a Region: The History and Culture of the Muslim World from 8th June until 16th October 2022. The analysis of the artwork is focused on the layout composition, variation of colors and the style The discipline of art history has been pioneered by the west and directly inevitably their formulas are also used in analyzing Islamic works of art.
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Maeda Tareq Mohammed. "The Aesthetics of Timurid and Safavid Miniatures." Basrah Arts Journal, no. 29 (May 28, 2024): 52–60. http://dx.doi.org/10.59767/2024.05/29.5.

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This research studies the aesthetics of Timurid and Safavid miniatures in a comparative manner. The first chapter deals with the research problem, its importance, and defining the most important terms used in it. The research problem included the topic of the aesthetics of Timurid and Safavid miniatures in the drawings of both eras through the artistic works produced by Islamic painting schools, where each school has characteristics that distinguished it from the other. The research problem was overcome through the following question: How did the Muslim artist achieve the miniatures aesthetics in manuscripts for both eras?The II chapter, the theoretical framework, includes four sections: the first on the aesthetics of Islamic art, the second on the art of Islamic miniatures, the third on the most important artistic features of painting (the Timurid era), and the fourth of the (Safavid) era. The third chapter included the research procedures, and the fourth chapter included the results and conclusions.The functional treatment of the concept of space designated for Islamic miniatures came according to a fruitful and sincere artistic and functional emotional approach within the relationships of creation that give it a spiritual feeling due to what the elements of construction have of multiple intellectual meanings and connotations, such as transferring the stories and events that were prevalent at that time, to documenting the style of Islamic architecture and the type of clothing worn by Muslims, the moral and social values that appeared through the interpretation of the movements of people in the Islamic miniature, as came in most of the sample models.
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Whelan, Estelle. "A Bibliography of Persian Miniature Painting, by Nasrin Rohani. vi + 158 pages. Aga Khan Program for Islamic Architecture, Cambridge, Mass. 1982." Middle East Studies Association Bulletin 19, no. 2 (December 1985): 259–60. http://dx.doi.org/10.1017/s0026318400016564.

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Macek, Pearson M. "IV. The Discoveries of the Westminster Retable." Archaeologia 109 (1991): 101–11. http://dx.doi.org/10.1017/s0261340900014041.

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The Westminster Retable is the most important thirteenth-century panel painting to survive from northern Europe and, quite arguably, from all of western Europe (pl. XXVIa). An oak panel measuring approximately 0.95m high by 3.33m wide, it is divided vertically into five compartments. In the centre is the figure of Christ, standing, blessing and holding in his left hand an orb or globe upon which is painted a delicate miniature landscape (pl. XXVIb). He is flanked by the Virgin Mary and St John the Evangelist who both hold palm fronds. Iconographically this grouping is unique in medieval art. Each figure stands in an architectural niche of high Gothic design. To either side of the central group are four medallions arranged in the Islamic star-and-cross pattern. Each of these eight-pointed star medallions contained a narrative scene, of which three on the left survive: the Raising of the Daughter of Jairus, the Healing of the Blind Man and the Feeding of the Five Thousand (pl. XXVIc). Such miracle scenes from the adult life of Christ were but rarely depicted in the Middle Ages. At either end of the panel are niches for standing figures of saints; only St Peter on the left survives, although ghostly vestiges of his counterpart, presumably St Paul, on the right remain visible.
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Cowen, Jill Sanchia. "Miniature Painting in Ottoman Baghdad, Rachel Milstein, Islamic Art and Architecture No. 5., Costa Mesa, Calif.: Mazda publishers, 1990, 132 pp., 16 color plates, b & w illus., drawings, index, bibliography, no price listed." Iranian Studies 24, no. 1-4 (1991): 83–85. http://dx.doi.org/10.1017/s0021086200014572.

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Simpson, Marianna Shreve. "Miniature Painting in Ottoman Baghdad by Rachel Milstein. (Islamic Art and Architecture 5.) 132 pages, bibliography, index, 119 line drawings, 16 color and 44 black-and-white reproductions. Mazda Publishers, Costa Mesa, Calif. 1990. $55.00." Middle East Studies Association Bulletin 25, no. 1 (July 1991): 103–4. http://dx.doi.org/10.1017/s0026318400024068.

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8

BOYDAK, Fatma Şeyma. "The Relationship between Text and Miniature in Layla Miniatures in the Masnavi of Layla and Majnun in the National Library of France." İSTEM, June 30, 2022. http://dx.doi.org/10.31591/istem.1135371.

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Miniature art is the art of small-scale painting applied to manuscripts to explain and decorate the text. There are many examples of miniature art, which dates to pre-Islamic times, on literary manuscripts of the Ottoman period. Among the literary manuscripts, miniatures are mostly encountered in love masnavis. Among these masnavis, Fuzuli’s Layla and Majnun masnavi stands out with its miniatures and impressive theme. It is known that there are various manuscripts of Layla and Majnun masnavi in libraries in Turkey and abroad. In our article, Layla miniatures of the Turc 316 inventory copy of the masnavi in the National Library of France are studied in terms of text-miniature relationship. The copy date of the copy is unknown. The copy, which consists of 127 pages, has a total of 15 pages with miniatures. There are various miniatures of Layla on 6 pages of it. In miniatures, Layla and Kays at school, Ibn-i Salam’s falling in love with Layla, Layla’s encounter with Majnûn in the countryside, Layla’s rejection of İbn-i Selam, and Layla’s encounter with Mecnûn in the desert are included. In all the miniatures, Layla is depicted with ostentatious clothes and headdresses. However, her face is always sad and stagnant due to not being able to reunite with her beloved. The painter painted the subjects, sometimes by reflecting the text exactly, and sometimes by including different elements in the design in proportion to his imagination. However, it has been determined that the descriptions of Leyla in the text are mostly tried to be included in the miniatures.
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Starodub, Tatiana Kh. "Graeco-Roman and Byzantine traditions in the miniature of the Arab Middle Ages." Academia 4 (2020). http://dx.doi.org/10.37953/2079-0341-2020-4-1-441-463.

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A comparative analysis of the Middle Eastern art monuments from different epochs urge the assumption upon us that colourful murals, reliefs and mosaics of palaces, religious and public buildings, just as the illustrated Greek, Latin and Syrian scrolls and codes, created in distant and recent the Western Asia pre-Islamic past or in the early centuries of the Caliphate, served as a kind of breeding ground for the development of a new art form for the Islamic world – a book miniature. In the works of monumental art of the city-states of pre-Islamic ancient Syria and Mesopotamia, traits are found that allow us to see in the heritage of the different art cultures of the ancient and early medieval Mediterranean and the non-Mediterranean Hellenized East not only a cradle, but also schools of Greco-Roman and Early Byzantine miniatures that complement and decorate texts of the ancient manuscripts. With the absorption of these regions by the Caliphate and the development of the medieval Islamic civilization, these schools, next to the vivid and developing art of Byzantium, became sources of knowledge and skill for the designers of Arabic manuscripts. The design of Greek, Latin and Syrian codes, along with the illustrations in the text, inspired the inclusion in the Arabic manuscripts of the frontispiece with the "portrait" of the author (or authors) of the book, and 'the dedication picture' – that were the separate miniatures glorifying the patron or the crowned addressee of the book in allegorical form. Over time, the style of Arabic manuscripts had lost the visible connection with both Greco-Roman and Byzantine prototypes. However, the acquisition of their own stylistic devices, methods and norms did not mean either a final deviation or a complete denial of lessons of the classical book painting. In one form or another, their contribution in Medieval Near Eastern arts was also manifested in the later illustrated Arabic manuscripts, although now at most they were oriented toward the models and ideals of Iran and Eastern Asia.
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Rührdanz, Karin. "For the Privileged Few: Islamic Miniature Painting from the David Collection. Copenhagen, Lousiana Museum of Modern Art, The David Collection, 2007, 236 p." Abstracta Iranica, Volume 30 (April 8, 2010). http://dx.doi.org/10.4000/abstractairanica.37829.

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Dissertations / Theses on the topic "Islamic Miniature painting"

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Glikson, Michal. "Towards a Peripatetic Practice: negotiating journey through painting." Phd thesis, https://datacommons.anu.edu.au/DataCommons/item/anudc:5523, 2017. http://hdl.handle.net/1885/128513.

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Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.
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Books on the topic "Islamic Miniature painting"

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Milstein, Rachel. Miniature painting in Ottoman Baghdad. Costa Mesa, CA: Mazdâ, 1990.

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Rogers, J. M. Mughal miniatures. New York: Thames and Hudson, 1993.

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Kök, Elif. Türk ve İslâm sanatı minyatür bibliyografyası. Pendik, İstanbul: Pendik Belediyesi, 2016.

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C. L. Davids fond og samling. and Louisiana (Museum : Humlebæk, Denmark), eds. For the privileged few: Islamic miniature painting from the David Collection. Humlebæk, Denmark: Louisiana Museum of Modern Art, 2007.

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Verma, Som Prakash. Mugala citraśailī: Aitihāsika viśleshaṇa evaṃ samīkshātmaka mūlyāṅkana. Jayapura: Pañcaśīla Prakāśana, 1998.

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Islāmī, Muʼassasah-i. Muṭālaʻāt-i. Hunar-i., ed. Hunar-i Shīʻī: ʻanāṣir-i hunar-i Shīʻī dar nigārʹgarī va katībahʹnigārī-i Taymūriyān va Ṣafaviyān. Tihrān: Muʼassasah-i Muṭālaʻāt-i Hunar-i Islāmī, 2005.

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Dībā, Pharahā. Mug̲h̲ala citrakalā: 16vīṃ evaṃ 17vīṃ śatābdī. Dillī: Svāti Pablikeśansa, 2012.

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curator, Doğanay Erkan, ed. Serüven: Azim Bedri Goki'nin 30. sanat yılı. İstanbul: Küçükçekmece Belediyesi, 2012.

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Canby, Sheila R. Princes, poètes & paladins: Miniatures islamiques et indiennes de la collection du prince et de la princesse Sadruddin Aga Khan. Genève: Musée d'art et d'histoire, 1999.

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Canby, Sheila R. Princes, poètes & paladins: Miniatures islamiques et indiennes de la collection du prince et de la princesse Sadruddin Aga Khan. Genève: Musée d'art et d'histoire, 1999.

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Book chapters on the topic "Islamic Miniature painting"

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"Safavid Revival in Persian Miniature Painting." In À l’orientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries, 15–27. BRILL, 2019. http://dx.doi.org/10.1163/9789004412644_004.

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Al-Khamis, Ulrike. "Chapter twelve. Khusrau Parviz as champion of Shi'ism? A closer look at an early Safavid miniature painting in the royal museum of Edinburgh." In The Iconography of Islamic Art, 201–10. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474471428-016.

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O'Meara, Simon. "The House as Holder." In The Ka'ba Orientations, 109–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748699308.003.0006.

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This and the next chapter concern the interior of the Kaʿba, both asking what and how the Kaʿba houses and thereby fulfils a basic function of architecture: to shelter and hold. This chapter argues that the total emptiness of the Kaʿba in terms of cultic content and its near emptiness in terms of material content are part of the Kaʿba’s function as a placeholder of the symbolic order of Islam – a function similar to the function of zero in cultures historically stamped by visualising technologies based on linear perspective. The chapter is divided into three parts. First, an account of what the early Islamic sources say the Kaʿba held before the advent of Islam, what they say this content was for, and what they allege the Prophet did with it upon his conquest of Mecca. Second, a discussion of the sources’ claim that the Prophet evacuated most of this content, and an analysis of pre-modern diagrammatic miniature paintings of the Kaʿba which substantiate this claim. Third, an interpretation of the resultant emptied Kaʿba as the placeholder of a void that is (1) functional in Islamic culture, anchoring the symbolic order of Islam, and (2) constitutive of the Kaʿba’s mystery.
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"Miniature-paintiDg Of about half of the collection. Hamza-Nama, India 16th c. Colour transparencies." In Islamic Art Collections, 18–26. Routledge, 2013. http://dx.doi.org/10.4324/9780203036907-11.

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Shatzmiller, Joseph. "German Jews and Figurative Art." In Cultural Exchange. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691156996.003.0006.

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This chapter briefly reviews the art history from 1230–1450 CE in order to better understand the cultural profile of the rabbi, and to evaluate the contribution of the wall paintings in his house as indications of the artistic horizons of German Jews of the fourteenth century. It also shows how Jews had to abandon the art that they cherished for generations, yet they found ways to keep alive their fascination with the beautiful and to nurse their aesthetic needs. The interior synagogue of Santa Maria la Blanca of Toledo and that of the recently reconstructed Sinagoga Mayor of Segovia manifest a profound attachment to Islamic public architecture. Jews showed great appreciation for the decorative value of their Hebrew alphabet. They also learned to paint inanimate or geometric images in miniature letters on the covers of their Bibles.
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