Relevant bibliographies by topics / Timurid Painting

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

Academic literature on the topic 'Timurid Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Timurid Painting"

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Dr. Shailendra Kumara. "Narrative Scenes in Akabar Style Painting: An Analytical Study." Jai Maa Saraswati Gyandayini An International Multidisciplinary e-Journal 10, no. III (2025): 29–35. https://doi.org/10.53724/jmsg/v10n3.05.

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Akbar (1556-1605CE), was an extraordinary ruler, who not only consolidated the political power of his empire but also greatly influenced the artistic and cultural life of India. while consolidating Mughal dynastic empire in India, evolved a court style of painting, usually designated as the “Mughal style” painting. It was a rolling art movement which started with fusion of the Timurid style with local (Pre Rajsthani) painting tradition. A large atelier of painters worked for him and mostly produced illustrated manuscript besides individual paintings.
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Lentz, Thomas W. "Dynastic Imagery in Early Timurid Wall Painting." Muqarnas 10 (1993): 253. http://dx.doi.org/10.2307/1523190.

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Lentz, Thomas W. "DYNASTIC IMAGERY IN EARLY TIMURID WALL PAINTING." Muqarnas Online 10, no. 1 (1992): 253–65. http://dx.doi.org/10.1163/22118993-90000313.

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Saravani, Fahimeh, Zekrollah Mohammadi, and Hossein Sarhaddi-Dadian. "The Impact of Political and Cultural Alterations on Crown Designs in the Herat School Paintings of the Timurid Period." Afghanistan 7, no. 2 (2024): 120–33. http://dx.doi.org/10.3366/afg.2024.0130.

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A crown or headwear was considered one of the most important parts of clothing in the past. More than any other article of clothing, it expressed one’s social position and status. As a symbol of royalty in Iran, the design of crowns evolved over different historical periods. At times, it was used as a symbol to show power and authority. At others, it was as a symbol of the tyranny of mighty kings, and sometimes a symbol of luxury and aristocratic life. The Timurid period, with all of its political and social turbulence, is considered one of the most brilliant periods of painting, where new det
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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
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CHAPMAN, S. "Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting." Persica 19, no. 1 (2003): 33–68. http://dx.doi.org/10.2143/pers.19.1.505104.

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Hessami, Mansour, and Soudabeh Safari. "The Meaning of Order in Persian Painting (The Case Study of Mourning on the Death of Timur)." Asian Culture and History 8, no. 1 (2016): 155. http://dx.doi.org/10.5539/ach.v8n1p155.

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<p class="1Body">The Mourning on the death of Timur is adapted from the Timurid Zafar-Nameh (The Book of Victory), 935 AH – 1529 AD, which is authored by Sharaf al-Din Ali Yazdi. Painting Works in this book are attributed to Kamal al-Din Behzad. The structure of this image in this research is taken into account.</p><p class="1Body">The aim of this study is to explore hidden and clear structures of the above image. Apart from displaying the painter's ability in using visual means to express the content better, the present paper proves arranging visual elements and the existenc
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Bahari, Ebadollah. "The Timurid to Safavid Transition in Persian Painting. Artists in Limbo: New Evidence." Iran 52, no. 1 (2014): 157–204. http://dx.doi.org/10.1080/05786967.2014.11834743.

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Allegranzi, Viola. "The Making of the Artist in Late Timurid Painting, written by Balafrej, Lamia." Eurasian Studies 19, no. 2 (2022): 295–98. https://doi.org/10.1163/24685623-12340119.

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Blair, Sheila S. "Ascending to Heaven: Fourteenth-century Illustrations of the Prophet’s miʽrāǧ". Arabist: Budapest Studies in Arabic 28-29 (2008): 19–35. http://dx.doi.org/10.58513/arabist.2008.28-29.2.

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Scenes illustrating the Prophet’s ascension to heaven, are some of the most glorious in Persian painting. Single scenes illustrating the subject are found in various types of literature, ranging from such Persian classics as Nizami’s Hamsa to popular devotional works about the Prophet’s life such as the Qisas al-anbiya’ (Tales of the Prophet) and biographies of his life such as the Siyar an-nabi. In all these cases, the ascension is merely one of many illustrations, but in addition there were at least two illustrated manuscripts devoted entirely to the subject of the Prophet’s ascension. Calle
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Dissertations / Theses on the topic "Timurid Painting"

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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.

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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progr
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Balafrej, Lamia. "Objets de performance : Les peintures du Bustân de Sa'di signées Behzâd (v. 894 H./1488)." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3042.

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Cette thèse est consacrée à l'étude des peintures d'un des manuscrits les plus importants de la tradition persane : une copie du Bustân de Sa‘di réalisée à la cour timouride de Herât vers 894 H./1488. Elle démontre que ces peintures incarnent un changement de fonction de la peinture, d'un dispositif de représentation à un objet de performance. Les peintures présentent plusieurs aspects inédits, qui contredisent la fonction illustrative généralement associée à la peinture persane de manuscrit. La surface de la peinture se couvre de formes qui n'ont aucun rapport avec le texte qu'elle est censée
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Abooali, Sareh. "Space, Gaze and Femineity: Representation of Women in Architectural Spaces in Persian Miniature Painting (Timurid to Safavid eras)." Thesis, 2021. https://hdl.handle.net/2440/134181.

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Architecture can be compared with the veil (or hijab) in terms of its visual and spatial functions. While the veil may overtly conceal, it may also define the woman it clothes in the same way that architecture may simultaneously support and represent its function. Both can deny or direct vision, and mediate space. However, whilst the veil has often been invoked in critiques of the cultural construction of women, the agential role of architecture has largely been overlooked. Using architecture as a lens, this art-historical thesis examines the representation of female figures in Persian miniatu
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Books on the topic "Timurid Painting"

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

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Dornfeld, Matthias. Timur Lukas: Der Wald vor Omas Fenster. Distanz, 2020.

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R, Canby Sheila, British Museum, and TV Asia, eds. Humayun's garden party: Princes of the House of Timur and early Mughal painting. Marg Publications, 1994.

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Siahaan, Semsar. The shade of northern lights: Single person installation and painting exhibition, August 15-30, 2004, Galeri Nasional, Jl. Medan Merdeka Timur no. 14, Gambir, Jakarta Pusat. Yayasan Tifa, 2004.

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Balafrej, Lamia. The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.001.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used
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Hames, Scott. Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019.

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Balafrej, Lamia. Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019.

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Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019.

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Balafrej, Lamia. The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474437455.

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Esoteric Images : Decoding the Late Herat School of Painting: Decoding the Late Herat School of Painting. BRILL, 2019.

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Book chapters on the topic "Timurid Painting"

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Balafrej, Lamia. "Chapter One." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0002.

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The introduction presents the book’s main arguments, its methodological principles, its objects of study and the social and artistic context of the late Timurid period. While most scholarship on Persian painting has emphasised either painting’s illustrative function or its relation to the patron, this introduction announces that Persian painting could also serve as a self-reflective device, designed to embody and mediate ideas about artistic authorship, medium, and representation. The introduction also provides information on the historical background of late Timurid Herat, on the scholarship
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Balafrej, Lamia. "Painting about Painting." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used
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"INTRODUCTION Painting about Painting." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474437455-005.

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Hillenbrand, Robert. "The Uses of Space in Timurid Painting." In Timurid Art and Culture. BRILL, 1992. http://dx.doi.org/10.1163/9789004662551_011.

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Balafrej, Lamia. "Calligraphic Line." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0005.

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In late Timurid manuscript painting, the area devoted to the illustration of the story narrated in the manuscript shrank dramatically, while a multitude of non-illustrative forms proliferated. Painting became filled with figures and motifs that bore no apparent relationship to the surrounding text. This chapter argues that visual abundance destabilized illustration in order to reference taswir, the process of image making. Aspects of composition and technique such as the painting’s even surface and its grid-like composition further lauded the artist’s creative power. This chapter also shows th
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Sims, Eleanor. "The Timurid Book: golshan-e naqsh-o tazhib A Garden of Painting and Illumination." In The Timurid Century. I.B.Tauris, 2020. http://dx.doi.org/10.5040/9781838606169.ch-007.

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"Focusing the Gaze in Late Timurid Painting." In Esoteric Images: Decoding the Late Herat School of Painting. BRILL, 2019. http://dx.doi.org/10.1163/9789004398412_004.

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Balafrej, Lamia. "Manuscripts in Motion." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0007.

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Chapter 5 takes a close look at the signatures of Bihzad in the paintings of the Cairo Bustan. Each signature was concealed as a pictorial detail, taking a different form in each painting. Signatures, moreover, were unusual in Persian painting. This chapter argues that through concealment, variety, ambiguity and uniqueness, Bihzad’s signatures were designed to elicit a feeling of wonder, emphasising the painter’s virtuosity and creativity. Through excessive minuteness, they mythicized the painter and described artistic authority as transcendent, while also obscuring the participation of many o
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O’Kane, Bernard. "The Baysunghur Kutubkhana and Emulation in the Arts of the Book." In Iranian Art from the Sasanians to the Islamic Republic. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781399506021.003.0008.

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This chapter investigates the art of copying in Persian book painting, focusing on two copies of the animal fables known as Kalila and Dimna produced in the kutubkhana (library/worshop) of the Timurid prince Baysunghur in the early fifteenth century. It shows that a good painter could take inspiration from a mediocre source as well as a masterpiece. It also raises the question of whether copying from lesser paintings might have been a common practice, but one that is hard to detect because of the disappearance of so many potential models.
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Balafrej, Lamia. "Writing on the Image." In The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0003.

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This chapter takes a close look at the semantic richness and transgressive potential of the Cairo Bustan’s illustrated frontispiece, a double painting opening the manuscript and representing a celebration in a royal palace. While the double painting belongs to the tradition of the Persian royal frontispiece, whose main task was to reflect the royal patron’s glory, it also considerably departs from it. In the painting, the king is marginalized, pushed to the periphery by a host of details and scenes. Visual abundance derails the viewer’s attention and suggests multiple lines of interpretation.
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