Persian painting has usually been studied from historical point of views. But its formation is rooted in a specific social context. In this study, we will try to contextualize it and we will show that this social context has a crucial role regarding its aesthetic. Persian painting is an art of royal courts and it represents the life of princes combined with Persian epic legendes. This social co...

How did Persian artists self-represent themselves within paintings in the absence of a tradition self-portraiture? beholders engage with style painting past? By addressing these fundamental questions study painting, The Making Artist Late Timurid Painting examines performative and self-representational abilities through detailed examination Cairo Bustan, earliest surviving illustrated...

During the past year the Museum's collection of Islamic art has been greatly enriched by several important purchases, gifts, and bequests. The bequest of twenty ceramics and two Persian rugs by Horace Havemeyer has already been discussed in a separate Bulletin article (May I957). One of the most notable additions was the Cora Timken Burnett Bequest of Persian miniatures and other art objects, w...

Modern Persian conjugation makes use of five periphrastic constructions. We contrast the properties of these five constructions and argue that they call for different analyses. We propose contrasting analyses relying on the combination of an HPSG approach to feature geometry and syntactic combination, and an approach to paradigm organization and morphological exponence based on Paradigm Functio...

the art of carpet weaving has undergone changes during the course of history. this ancient art has gradually found its place among other branches of art due to its artistic and consumer characteristics. the art of carpet weaving has heavily influenced other fields like painting for its elegant ornamentation. this paper will elaborate on the widespread relations between persian and italian art d...

there are several studies pertaining to perisian painting which explain its aesthetics on the basis of mysticism and the notion of imaginal world. this point of view bears some methodological problems. some of the prominent scholars (burckhardt, nasr, ringgenberg), refering to ibn arabi’s mystical notions, have tried to show that the specific aesthetics of persian painting has been derived from...

the iranian world has a well-established tradition of images that goes back to anitiquity. the structure relation between text and image become increasingly intricate in illustrated manuscripts, at least from the middle of forteenth century onwards. these links can be observed through the composition and layout of the paintings. these relations seem to be expressed in some persian poetical text...