The Lithographed Kalilah wa Dimnah

2022

Iran 56.1 (2018), pp. 47-67

Many medieval manuscripts are illuminated with paintings and other graphic elements, one purpose of which may have been to reinforce the significance of the work in question with a pictorial gloss, and perhaps also as a visual aid to convey its message for the benefit of readers who may not always have been literate. Reading the text through pictures is a matter of particular interest in the case of historical literature, as chronicles often commissioned at court lend themselves especially well to a deliberate programme of enhancing the image of the ruler and celebrating his deeds according to the political concepts and ideological imperatives of the time. This paper addresses the question of the illustration of historical texts within the Persian tradition of book art, focusing on the Jami' al-tawarikh of Rashid al-Din and its impact on later productions.

2012

Iranian artists, like artists all over the world, draw their inspiration from a variety of sources, whether indigenous or foreign, modern or historical. O ne o f these sources, the illustrations contained in lithographed books o f the Qajar period, and their use in contemporary Iranian art, is the topic of this essay. Constituting an indigenous historical practice, lithographic illustrations of the Q ajar period have remained a mine of inspiration for Iranian artists for several decades and, if my assumption proves right, will increasingly continue to do so, as public awareness o f the wealth of this historical material grows. The following presentation of this topic is divided into three parts: First, I provide a short sketch of the history of lithographic illustration in Iran, from its beginnings in the middle o f the nineteenth century to its decline and the termination of its primary existence in the middle of the twentieth

Der Islam, 2020

The initial influence of Islam on art was not profound, however its impact became conspicuous in the ways that artists began to create art within the frame of Islamic theocracies. From the earliest beginnings of Islam, there have been rules and obligations regarding the depiction of human body in illustration and painting in general. After the coming of Islam, the interest of artists in religion and art with religious references make a substantial part of artistic production by using Quran and its verses in their works in different innovations. Those Islamic approach influence art and has been used for centuries including illuminated calligraphic texts, geometric and vegetal patterns, and figural representations between or around the verses of Quran, miniatures, ceramic tiles, etc. This paper examines if Islamic obligations led artists to be more creative while trying to find their way around the restrictions of using figural representation. While arguing if it's appropriate to accept religious values as a norm of art.

Journal of Islamic Studies, 2002

Art and Design Review

Manuscripts are known for their historical role as explanatory drawings for medical and literary manuscripts. However, the Muslim artist had initially recourse to this Art to speak about his reality including the daily life aspects and his spiritual world. Despite the richness of Islamic manuscript paintings and the prevalence of this Art practice by Muslim artists throughout several periods and eras, both the public and scientific interest are still very limited. This current research aims to determine the artistic and aesthetic values of the manuscript paintings in both Arabic and Persian schools. The goal is to contribute to appreciating manuscript paintings, revitalize the interest and develop their aesthetic and artistic aspects. Through this research we also discuss and analyze the differences between Arabic and Persian schools through selected models from both of them.