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Artykuły w czasopismach na temat "Persian Illumination of books and manuscripts"
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Cankurt, Fatih. "Early Qur’anic Manuscripts Studies: Foreign Resources". Journal Of The Near East Unıversıty Islamıc Research Center 8, nr 1 (28.06.2022): 75–90. http://dx.doi.org/10.32955/neu.istem.2022.8.1.05.
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Ancient mushafs are important works that carry the writing experience of the first centuries of Islam to the present day. Early mushaf manuscripts, the way the words are written, the beginning of the chapter information, the number of verses, the signs of verse/stop/prostration, letter points, movements, illumination etc. From many points, it is a source of information for sciences such as calligraphy, history of mushaf, recitation, resm-i mushaf. At the same time, they are works that prove that the Qur'an has not been harmed, and that it has survived to the present day without any distortion, in written form. Despite these spiritual, scientific and historical importance, the early period mushafs were not sufficiently sought after by the researchers of our country. Although it is seen that there are studies of some mushafs in terms of calligraphy, it should be expressed with regret that there are very few studies based on mushaf history and recitation science in our country. Many factors affecting this situation can be mentioned, but the most effective reason is that it is considered unnecessary to do research on the written form of the divine word, the mushafs. On the other hand, orientalists have focused on the early mushafs for nearly two centuries and they still maintain this interest. It does not seem possible to express clearly whether there is an innocent scientific research intention behind this interest, or whether there is an effect of prejudices containing doubts that the Qur'an is a divine book. However, the fact that the West especially showed great interest in the early period mushafs and allocated serious budgets for research can be considered as a sign that the field should not be seen as unnecessary. This article deals with the researches completed abroad, especially in the West, on the early mushafs. The aim is to provide general information about the abundance of foreign studies and how they are, and to contribute to researchers who are interested in the field. For this purpose, a catalog was prepared by determining the names of foreign studies prepared in different languages about the early period mushafs by researchers in various countries. First of all, the printed version of the works whose names are included in the catalog, and if it is not possible, the digital file is tried to be reached. All of the studies, the text of which can be accessed, were examined and introductory summary information was recorded. Along with this summary information about them, the tags, language and subject of foreign studies have been classified and included in our article. As a result of the research, it has been seen that besides the codicological, paleographic and orthographic studies related to the ancient mushafs, there are also studies dealing with one or more early period mushafs in terms of their ornaments. It has been determined that a total of 97 works, including catalogs of museums/collections in which many early period mushafs are located, were prepared in German, Arabic and Persian languages, especially in English and French. Considering that there are many more studies that are not included in this article due to the inaccessibility of the text, it turns out that our country is far behind in the field of ancient mushafs. It is our aim at the end of this study that, as people with Muslim identity, our faith should be a means of giving importance to the field, studying and encouraging work so that we can become a dominant party in the early stages of our life.
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Jackson, Cailah. "The Illuminations of Mukhlis ibn ʿAbdallah al-Hindi: Identifying Manuscripts from Late Medieval Konya". Muqarnas Online 36, nr 1 (2.10.2019): 41–60. http://dx.doi.org/10.1163/22118993-00361p03.
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Abstract The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.
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Pakzad, Zahra. "Color Structure in the Persian Painting". Review of European Studies 9, nr 1 (30.11.2016): 1. http://dx.doi.org/10.5539/res.v9n1p1.
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Written manuscripts and literary treatises are among the most important documents of knowledge on traditional color production techniques related to painting, and as they have survived thanks to desirable maintenance and preservation from the ancient times to the present time, they can be good sources for identifying and extracting traditional color production methods related to paining. Especially, the illustrated books simultaneously with their writing are an evidence of the contents presented in those manuscripts and treatises. Therefore, by an aim to identify and revive traditional color production techniques, the present descriptive-analytic research examines some of the available handwritten manuscripts and literary treatises. Then, with emphasis placed on the knowledge acquired and the modern facilities, some of the colors are made. The present study was performed by raising the major question that what ancient literary books are the sources of production colors used in Persian painting, and what were the nature of color production techniques and traditional color characteristics in the past. Thus, the study population includes Golestan Honar, Qanun al-Sovar, Majmoueh al-Sanaye’ and 14 other treatises relevant to this issue, and the data collection was performed in a library- and experimental-based manner. The result of this study was the extraction, preparation and remaking of seven main mineral colors in Persian painting.
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Anikeeva, Tatiana A. "About Manuscripts, Lithographs and Early Printed Books of the Karakalpak Institute of Humanities". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, nr 4 (2021): 195. http://dx.doi.org/10.31857/s086919080016226-5.
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In the course of work in the manuscript collection of the Karakalpak Institute of Humanities (Branch of the Academy of Sciences of the Republic of Uzbekistan), a collection of manuscripts, lithographs and old-printed books was identified. It consists mainly of new arrivals (the so-called “Chimbay collection” at the place of origin of most of the manuscripts, from the city of Chimbay, formerly Shakhtemir, now in the Republic of Karakalpakstan). According to the information of the Institute's employees, Uzak Rakhmatullayev (born in 1920 in the territory of the modern Chimbay district of Karakalpakstan) collected more than 300 manuscripts and printed publications in Arabic, Persian and Turkic languages and subsequently transferred the collection to the Institute. We started its scientific description. A preliminary list of manuscripts, lithographs, and old-printed books was compiled, and they were distributed by language, chronology and subject. Among these manuscripts are works on Muslim dogmatics, Korans, poetic works (poems by Ajiniyaz, Berdakh, Suleyman Bakyrghani, Ahmad Yasavi, various destans, etc.), treatises on the grammar of the Arabic language (“Tarkib al-Awamil”), historical works, samples of calligraphy on separate folios, etc., in Arabic, Persian and Turkic languages (Chagatai, Tatar, Karakalpak). Together, they represent the area of reading of a Muslim of that era (19-first half of the 20th century) and are one of the illustrations of the close literary and cultural ties between the Aral Sea region (then the Khanate of Khiva), the Volga region, and the Ottoman Empire (where a number of manuscripts were copied).
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Belkina, Ekaterina. "Vladimir Ivanov’s “Jewish Manuscripts”. Part 1. The Collection And The Archive". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, nr 3 (2023): 201. http://dx.doi.org/10.31857/s086919080025426-5.
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The “Bukharian Collection” of Vladimir A. Ivanov included dozens of Jewish manuscripts. They came to the Asian Museum in St. Petersburg in 1915, and Alexander A. Freiman systematized some of them – in Judeo-Persian only – by 1918. Over the past century, there have been several (re-)inventories, so nowadays one cannot rely on those obsolete publications, working with these monuments. Part of the provenance has been lost. Basing on Ivanov’s archive and the inventory books of different years, this article is an attempt to update the information on all Jewish manuscripts acquired in Bukhara. The Aramaic and Hebrew manuscripts are new to the scientific circulation, the provenance of the Judeo-Persian manuscripts is clarified. Ivanov’s personal notes for each manuscript are scarce. Nevertheless, they are the primary source about the manuscripts, and today his “notebook” on the “Collection” is kept in the Archive of Orientalists of the Institute of Oriental Studies RAS. Using Ivanov’s list of manuscripts and their description by Freiman, as well as the current inventory, I managed to restore the provenance of almost all monuments. Some last Hebrew manuscripts in this list are particularly difficult to identify, while other monuments within the Jewish fund have been erroneously attributed to the “Collection” for a long time. Only one manuscript from Bukhara has remained unidentified. Checking the rest of the manuscripts for Ivanov’s notes at the margins in his “notebook” helped to match and connect the archival data with the source data of the manuscripts.
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Juraev, Jaloliddin. "Badii Andizhani and about his works "Tajnisul-lug’ot"". Golden Scripts 4, nr 1 (1.03.2022): 96–118. http://dx.doi.org/10.52773/tsuull.gold.2022.4.1/ugun8122.
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It is wel-known that during the reign of the Temurids many works on the theory of classical literature were written in the Persian and Turkic languages. Originally from Andijan, Yusuf Badii Andizhani’s “Tajnis ul-lug’at” is one of the scientific-theoretical books. This book devoted to the art of anthethesis is not yet fully known in science. The article provides the first information about the Persian dictionary of anthethesis, compiled by Badii in the fund of the Institute of Oriental Studies named after Abu Rayhan Beruni of the Republic of Uzbekistan of Academy of Sciences. It is called by different names because of the author does not indicate his name in the pages of the work. For this reason, the manuscripts of the dictionary include “Tajnisul-lug’at”, “Se lug’oti Badiiy”, “Qasida dar halli lug’ot”, “Salasa se lug’at”, “Manzum dar bayoni lug’ot”, “Nazmul-salosa fil-lug’ata”, ‘Nazmul - salasot”, and “Lug’ot”. And the more article provides information about manuscripts of this source. There are also translations of the work from Persian into Uzbek.
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Khan, Najam Ul Hassan, i Rafaqat Ali Shahid. "خلیل الرحمٰن داؤدی کی مخطوطات پر یادداشت نویسی". FIKR-O NAZAR فکر ونظر 59, nr 4 (30.06.2022): 75–94. http://dx.doi.org/10.52541/fn.v59i4.1050.
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Khalīl al-Raḥmān Dā’ūdī (1923-2002) was a versatile personality. Most of his work is about manuscripts, research and editing. He edited more than twenty 20 classical Urdu books, sixteen of them are published and four are still unpublished. He was famous for his good knowledge of manuscripts. He wrote notes on more than three thousand and five hundred manuscripts of different languages like Persian, Arabic, Urdu and Punjabi. Scholars of literature praised his research on manuscripts. This article is about the principles of catalogue in practical form and also a review of some samples notes written by Dā’ūdī. It is also a comparison of Dā’dī’s cataloging with other catalogues. No doubt it is an important addition to the chapter of codicology. This research explores the patterns of memories for the past scholarship they worked on different manuscripts for literature and languages.
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Ralph, Karen. "Performance, Object, and Private Devotion: The Illumination of Thomas Butler’s Books of Hours". Religions 11, nr 1 (31.12.2019): 20. http://dx.doi.org/10.3390/rel11010020.
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This article considers the major cycles of illumination in two Books of Hours belonging to Thomas Butler, seventh Earl of Ormond (c.1424–1515). The article concludes that the iconography of the two manuscripts reflects the personal and familial piety of the patron and was designed to act as a tool in the practice of devotion.
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Nash, Penelope. "Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy [Book Review]". Journal of the Australian Early Medieval Association 15 (1.11.2019): 127–29. http://dx.doi.org/10.35253/jaema.2019.1.6.
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Review(s) of: Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy, by Andriolo, Azzura Elena and Reynolds, Suzanne, (London and Turnhout: Harvey Miller, 2017) hardcover, 288 pages, RRP 149 pounds/Euro175; ISBN: 9781909400856.
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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus". Orientalistica 6, nr 2 (6.09.2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.
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This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.
Rozprawy doktorskie na temat "Persian Illumination of books and manuscripts"
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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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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 progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.
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Rodrigues, Ubirajara Alencar 1966. "O colar perdido da caligrafia". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251132.
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Orientador: Milton Jose de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:20:10Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_D.pdf: 41150719 bytes, checksum: dd62e343c9b0c326b696000c59b681f4 (MD5) Previous issue date: 2011
Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes.
Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Drechsler, Stefan Andreas. "Making manuscripts at Helgafell in the fourteenth century". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236533.
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This thesis examines a cultural revolution that took place in the Icelandic artistic landscape during the medieval period. Within just one generation (c. 1350–1400), the house of canons regular of Helgafell rose to become the most important centre of illuminated manuscript production in western Iceland. This study delivers a comprehensive and critical multidisciplinary study that combines methodologies and sources from the fields of Art History, Old Norse-Icelandic Manuscript Studies and Medieval Nordic History. It maps important changes in the art historical market, as well as major movements of ideas between three distinct manuscript cultures: from Helgafell in Iceland, Norwich and surrounding East Anglia in England, and the region between Bergen and Trondheim in Western Norway. By conducting cross-disciplinary research, the philological and historical data, combined with a sound social network analysis methodology, this study presents a comprehensive approach that respects both the historical setting of the illuminated manuscript production and the products themselves. It thereby contributes to a new and multidisciplinary area of research that studies not only one but several western European cultures in relation to similar domestic artistic monuments and relevant historical evidence. By using the interdisciplinary approach outlined above, it offers a detailed perspective of one cultural site – Helgafell – in particular in regard to its artistic connections to other ecclesiastical and secular scriptoria in the broader North Atlantic region.
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Hunt, Elizabeth Moore. "Illuminating the borders of northern French and Flemish manuscripts, ca. 1270-1310 /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137712.
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Sheppard, Jennifer M. "The Giffard Bible Bodleian Library MS Laud misc. 752 /". New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/11970124.html.
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Magruder, James A. "The Sinope gospels an illuminated gospel book as anti-Chalcedonian polemic /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Gil, Marc. "Du Maître du Mansel au Maître de Rambures le milieu des peintres et des enlumineurs de Picardie, ca. 1400-1480 /". Lille : A.N.R.T., Université de Lille III, 2000. http://bibpurl.oclc.org/web/30345.
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Baker, Donna Tsuruda. "The artistic and sociological imagery of the merchant-banker on the book covers of the Biccherna in Siena in the early Renaissance /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6244.
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Pulliam, Heather. "Opening the senses : the Gospel book as an instrument of salvation as articulated by the minor decoration and full-page illustrations of the Book of Kells". Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15322.
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This thesis argues that the minor decoration and full-page images of the Book of Kells reflects a cohesive theme: the role of the gospel book in man's apprehension of God. This is demonstrated by an examination of the decorated initials and smaller images in relation to the text and a reinterpretation of the full-page images within the context of patristic commentary and the writings of the period. It is argued that the decorated initials and minor imagery are not merely ornamental but instead emphasize and comment upon the text. They do so in three ways: Firstly, they draw the eye to passages of gospel text that describe the visual apprehension and recognition of Christ as the Son of God. In demonstrating this, the assumption that the decorated initials operate in a traditional manner, such as marking lections or Eusebian sections, is rejected. The atypical function of the decoration, highlighting themes rather than liturgical or content divisions, indicates the unique function of the manuscript. Secondly, it is argued that the decorated initials employ the metaphorical imagery of the Psalms to describe the distinction between the manuscript's audience who acknowledge Christ as the Son of God, and those described within the text as confused and unable to recognize the identity of Christ despite his presence in their midst. Thirdly, the imagery of the decorated initials describes the manner in which the Godhead is literally contained within the text of the gospel book. The larger images also emphasize the recognition of Christ and distinguish between those who look to the Word of God and those who fail to do so. Additionally, the full-page imagery instructs the audience in the use of the manuscript. To an even greater extent than the minor decoration, the larger images articulate the role of the Gospel book and liturgy as a visible guide to an invisible deity and shield against temptation.
Książki na temat "Persian Illumination of books and manuscripts"
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Bronstein, Léo. Space in Persian painting. New Brunswick, N.J: Transaction Publishers, 1994.
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Moreen, Vera Basch. Miniature paintings in Judaeo-Persian manuscripts. Cincinnati: Hebrew Union College Press, 1985.
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Kiselincheva, Marii͡a. Persian miniatures: 16th century Persian miniatures in manuscripts perserved in the Cyril and Methodius National Library, Sofia. Sofia: Bulgarski Houdozhnik, 1990.
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Brend, Barbara. Perspectives on Persian painting: Illustrations to Amīr Khusrau's Khamsah. London: RoutledgeCurzon, 2003.
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Adamova, A. T. Mediaeval Persian painting: The evolution of an artistic vision. New York: Bibliotheca Persica, 2008.
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Simpson, Marianna Shreve. Persian poetry, painting & patronage: Illustrations in a sixteenth-century masterpiece. Washington, D.C: Freer Gallery of Art, Smithsonian Institution, 1998.
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Robinson, B. W. Studies in Persian art. London: Pindar Press, 1993.
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Porter, Yves. Painters, paintings, and books: An essay on Indo-Persian technical literature, 12-19th centuries. New Delhi: Manohar, 1994.
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Soudavar, Abolala. Art of the Persian courts: Selections from the Art and History Trust Collection. New York: Rizzoli, 1992.
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Arthur M. Sackler Gallery (Smithsonian Institution). Shahnama: 1000 years of the Persian Book of Kings. Washington, D.C: Freer/Sackler, The Smithsonian's Museums of Asian Art, 2010.
Znajdź pełny tekst źródłaCzęści książek na temat "Persian Illumination of books and manuscripts"
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Harris, Neil. "Costs We Don’t Think About: Rubrication and Illumination". W Printing R-Evolution and Society 1450-1500. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/018.
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Rubrication, or the hand-finishing of manuscripts and (very) early printed books, falls between several areas of competence; however, it often tells us important things about the book and its early history; it also had a cost, and in description it is important to distinguish between ‘professional’ and ‘amateur’ rubrication. A copy of a Venetian incunable printed in 1474 in the collections of the Boston Public Library has on its final leaf a contemporary rubricator’s note, with the summary of the costs of illumination and rubrication. The edition concerned was maybe sold through the Zornale of Francesco de Madiis, the ledger of a Venetian bookseller, which records the sales of some 25,000 books between 1484 and 1488. These sales, however, mostly concerned books sold as unbound sheets, though occasionally bound copies are recorded with a consequent increase in price. Discovering the expense of rubrication and illumination, albeit in this one instance, makes it possible to understand better the real cost of purchasing a 15th-century book.
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Jackson, Cailah. "Saūtıū ibn Hḥ asan: A Mevlevi Patron of Erzincan". W Islamic Manuscripts of Late Medieval Rum, 1270s-1370s, 169–225. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451482.003.0005.
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The fourth and final chapter focuses on the patronage of one individual, who emerges from surviving material as the most prolific manuscript patron of late medieval Rum. The three manuscripts discussed in this chapter were commissioned by Sharaf al-Din Sati ibn Hasan, an amir, history writer and Mevlevi devotee. The key manuscripts are a copy of the Masnavi of Sultan Walad from 1366, a two-volume Divan-i Kabir from 1368 and a 1372 copy of the Masnavi, both by Jalal al-Din Rumi. Several manuscripts belonging to Sati’s son, Mustanjid, are also considered. Although a production centre is not named in the manuscripts, the patron and his family were based in Erzincan. This chapter outlines and contextualises the political and cultural activities of Sati and Mustanjid and considers where the manuscripts may have been produced. Moreover, the distinctiveness of the manuscripts’ illumination, and the patron’s connection to the Jalayirids, generates a discussion concerning the relationship between the arts of the books of Rum and the Mongol successor states.
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Blair, Sheila S., i Jonathan M. Bloom. "The Islamic World". W The Oxford History of the Book, 183–205. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886897.003.0008.
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Abstract Because of the sanctity of the revelation and the desire to record it faithfully, writing and books have always played an extraordinarily important role in the Islamic world. Islamic culture has spanned a millennium and a half, from the early seventh century to the present day, and exists around the globe from southern Spain and North Africa to Indonesia and beyond. Following a brief introduction to the principles of Arabic script, this chapter surveys this vast production in four broad chronological blocks: Qur’an manuscripts from the first centuries of Islam; the transition from parchment to paper in medieval times; deluxe books with illustrations produced from the late thirteenth century to the early seventeenth; and other forms and formats typical of more recent times including albums, loose-leaf Qur’an manuscripts from Africa, printing, and artists’ books. The purpose is to investigate books from the Islamic lands not only as written texts but also as physical objects that shed light on important social and intellectual questions such as the change from the oral to the written, rates of literacy, identification of readership, the roles of illustration and illumination, collecting, preservation, and libraries.
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"La Biblioteca pubblica veneziana e gli incunaboli miniati". W Printing R-Evolution and Society 1450-1500. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/029.
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Venice was central to the production of printed books in the 15th-century and illumination continued to be applied to this new type of books, beyond the age of the manuscript. However, the illuminated incunabula preserved today in the Library of the Serenissima do not represent a noticeable percentage of the production of value. As is known, very few specimens printed on parchment or with miniatures entered the Marciana collections. Yet, the activity of the press was favoured by Bessarion, who included his remarkable Roman incunabula among his legacy to San Marco. The Roman incunabula of the Bessarion collection, published between 1468 and 1472, have characteristics that are entirely similar to the manuscripts he had commissioned in the last years of his life. The incunabula that entered the library in the later centuries, chiefly following the suppressions of the eighteenth and nineteenth centuries, are the result of different priorities.
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Atbaş, Zeynep. "Türk ve İslam Eserleri Müzesi". W Cengiz Han ve Mirası, 339–36. Turkish Academy of Science, 2021. http://dx.doi.org/10.53478/tuba.2021.036.
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"Ottoman sultans showed a great interest in books; on the one hand, they had their palace workshops prepare manuscripts ornamented with unique illustrations and illuminations; on the other hand, they collected books created in other locations of the Islamic world through various means, such as, gifting, looting, and purchasing. The subject of this article involves the artistic manuscripts from the Ilkhanid era that entered the Topkapı Palace Treasury. Most manuscripts in the Topkapı Palace Library consist of copies and sections (juz’) of the Koran. With their illumination and binding, these large-format books designed by the skillful illuminators and bookbinders of the Ilkhanid era are early fourteenth-century masterpieces of Islamic art of the book. Among these are Koran sections prepared for the famous Ilkhanid ruler, Sultan Uljaytu Khodabanda, and the renowned vizier, Rashid al-Din. Some examples were written by the most illustrious Islamic calligraphers, Yaqut al-Musta’simi and Arghun Kamili, illuminated by the famous artist of the era who worked in Baghdad, Muhammad b. Aybak b. Abdallah, and bound by bookbinder Abd al-Rahman. The Ilkhanid era was also a time when fascinating and important manuscripts were prepared in terms of book illustration. Two of the three Mongol-era manuscripts in the Topkapı Palace collection are copies of the Jami’at-Tawarikh—a general history of the world prepared by a commission led by the vizier Rashid al-Din under the order of the Ilkhanid ruler Ghazan Khan— while the third is a copy of the Garshaspnama. In addition, some paintings that appear in one of the palace albums belong to a volume of the Jami’at-Tawarikh on the history of Mongol khans, which has not survived. The significant and unique paintings of the Ilkhanid era are the Miʿrajnama paintings made by Ahmed Musa featured in the album prepared for Bahram Mirza, the brother of the Safavid sultan, Shah Tahmasp. The preface of the album written by Dust Muhammad refers to the famous painter Ahmed Musa, who lived in the era of the Ilkhanid ruler Abu Said, to have “removed the veil from the face of painting and invented the painting that was popular in that era.” In addition, the author states that he illustrated a Miʿrajnama. However, only the eight album pages with miʿraj images have survived this work. Through their bindings, illuminations, calligraphy, and illustrations, Ilkhanid era manuscripts from the Topkapı Palace constitute a vital collection that demonstrates the advanced level reached by the arts of the book during this era. "
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Khorasani, Manouchehr Moshtagh. "Jewels of Crafts – Forging Blades, Fletching Arrows, Making Naphtha, and Manufacturing Black Powder – a Persian Manuscript on Warfare". W Tools of war, 177–201. Wydawnictwo Uniwersytetu Łódzkiego, 2023. http://dx.doi.org/10.18778/8331-461-7.11.
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The present article deals with an undated Persian manuscript titled Javāher al-Sanāye’ ﺟﻮﺍﻫﺭﺍﻟﺼﻨﺎﻳﻊ (Jewels of Crafts). Many Persian manuscripts provide invaluable information on weapon-making, forging swords, archery techniques, attacking fortifications, casting cannons and making firearms, and military strategies. Most accounts on making crucible steel are part of books on jewels and stones. In my last book Jewels and Patterned Crucible Steel: Books of Jewels, Stones, and Metals, I provided a translation and annotation of the book Goharnāmeh [Book of Jewels] written by Mohammad ben Mansur for the ruler Uzun Hasan Āq Qoyonlu in the 15th century CE (9th century Hijra). The Goharnāmeh by Ben Mansur describes precious and semi-precious stones, animal products, and metals. An essential part of the book deals with blades and making crucible steel. However, the manuscript Javāher al-Sanāye’ (Jewels of Crafts), which is the topic of this article, is about the transformation of stones and metals. The book describes how the craftsmen made crucible steel and expands on how ironworkers used crucibles for conducting other alchemical processes to change and transform the colour of stones, among other processes. Javāher al-Sanāye’ (Jewels of Crafts) is a gem for war-related topics as it provides invaluable information on how to make crucible steel blades, how to identify and classify swords, how to make the adhesive glue for attaching the blade tang to the handle of the sword, how to make glue for fletching arrows, how to make naphtha (burning material) for attacking fortifications, and how to make the black powder.
Streszczenia konferencji na temat "Persian Illumination of books and manuscripts"
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Afshār, Īraj. "Persian manuscripts with special reference to Iran". W The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.03.
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Before considering the work being done on Persian manuscripts and the places where they are kept, attention should first be focused upon two related topics. First, the place where the manuscripts were written. By looking at colophons where the place of origin is indicated, and in some cases, by assessing the style of the calligraphy, we discover that over a period of six or seven centuries, Persian manuscripts were written in all the lands where people either spoke Persian or were familiar With Persian literature. There are numerous Persian manuscripts which have been written in Arabic- speaking lands such as Syria, Iraq, and Egypt, and the European dominions of the Ottoman Empire, a number of which still remain in these countries. Moreover, the existence of Persian manuscripts in public libraries and private collections in India, Pakistan, and Turkey is an indication of the prevalence of the Persian language at the courts and at literary gatherings in those lands. The style of the calligraphy and illumination of these manuscripts was specific to these various regions, and one can distinguish them at a glance.