ISLAMIC CHINOISERIE THE ART OF MONGOL IRAN PDF

Request PDF on ResearchGate | On Jan 1, , George Lane and others published Islamic Chinoiserie: The Art of Mongol Iran (Edinburgh Studies in Islamic. Islamic Chinoiserie: The Art of Mongol Iran (Edinburgh: Edinburgh University Press, paperback, ). Yuka Kadoi. Uploaded by. Yuka Kadoi. Files. 1 of 2. The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art. Trans-Eurasian exchanges of goods, people and ideas.

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The result is a mixture of different elements, iconography and motifs each with its own history brought together under the art of Islam. The lecture was based on her most recent publication Islamic Chinoiserie: Emon, Matthew Levering, and David Novak. With the fascination of portable objects brought from China and Central Asia, a iraan, hitherto unknown style – Islamic chinoiserie – was born in the art of Iran.

The Mongols were very mongpl in textiles and used it as a form of art propaganda. Dragons, lotuses, clouds and suchlike were transferred via drawings on paper, as the author rightly points out, to stone, wood, ceramics, leather book bindings or any other suitable material. Many of the Chinese ceramic pieces, designs and styles were copied by Iranian potters as well as adopted with more added decorative elements.

When Eurasia was conquered by the Mongols, there was an exchange of people, goods and ideas between East and West.

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Yuka Kadoi joins the discussion at this point. Through imported textiles in Iran, Chinese artistic concepts were adopted. Articles by Nancy Shatzman Steinhardt on the copy Chinese paintings by medieval central Asian artists are an excellent example of the minute inquires needed at the level of individual objects before any overview can be made. The Chinese phoenix was also reworked in Ilkhanid Iran.

Yuka Kadoi, now at the Art Institute of Chicago, has accomplished this work due to her double background in Chinoiseris and Islamic studies.

Read, highlight, and take notes, across web, tablet, and phone. The lecture was very interesting and I find it fascinating to discover how Islamic art is diverse and how Islamic artists had absorbed artistic styles from different cultures and religions and incorporated them into their own style. Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale th the auspices of the Pax Mongolica.

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One interesting image that was adopted in Islamic Iran from China was the lotus motif, which appears in textiles, manuscripts, metalwork and architectural decorations.

Iconography in paintings clearly displays the multi-religious environment that was taking place in Ilkhanid Iran.

The book merits the exquisite craftsmanship found in the first editionnot the second in ! From inside the book.

Examples are images of dragons and phoenixes. It has long been accepted that the formation of the Mongol Empire by Chinggis Khan at the beginning of the thirteenth century was one of the defining moments in world history. Islamic Iran adopted this lotus motif and adapted it to their designs creating a more stylized version than the Chinese lotus.

The Mongol Empire was the largest contiguous land empire in history, connecting the two edges of the Eurasian land mass under a single political authority. By using rich visual materials from various media of decorative and pictorial arts – textiles, ceramics, metalwork and manuscript painting – the book illustrates the process of adoption and adaptation of Chinese themes in the art of Mongol-ruled Iran in a visually compelling way. Account Options Sign in.

The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art. Other editions – View all Islamic Chinoiserie: No eBook available Amazon. Focus is on human beings and their artifacts face shapes, dress peculiarities, ceremonies, architecture Iran depicted dragon-like creatures as a snake, but after the Mongol invasion, Iranian depiction of dragons incorporated Chinese style but was combined with their own decorative motifs.

She is the author and editor of numerous publications, including Islamic Chinoiserie: Persian Art Yuka Kadoi. This resulted in a significant amount of cultural interaction between East and West.

Islamic Chinoiserie: The Art of Mongol Iran

Kadoi concluded by explaining how islakic research in Islamic Chinoiserie chnoiserie the Islamic admiration and understanding of Chinese style and techniques and how that was fundamental in developing Iranian Islamic art during and irn the Mongol invasion.

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It had a strong symbolic meaning referring to purity and the Buddha. Textiles were portable objects and this allowed the Mongols to use them as symbols to express their social status. This illustrated book offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols.

With the fascination of portable objects brought from China and Central Asia, a distinctive, hitherto unknown style – Islamic chinoiserie – was born in the art of Iran. Abstracta Iranica Revue bibliographique pour le domaine irano-aryen. The lecture focused on how Chinese artistic styles were evident in Iranian art under the Mongols through textiles, ceramics, metalwork and paintings.

Ceramics are another important export from China. The Minaret Jonathan M.

Islamic Chinoiserie

The typical Chinese phoenix would be depicted with a long impressive tail and a distinctive face within a naturalistic setting or background. Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale under the auspices of the Pax Mongolica. Sections are also devoted to objects selected by functionality or origin, such as mirrors or the metalwork of the Golden Horde.

Metalwork and Other Miscellaneous Objects. Key Features covers various media of decorative and pictorial arts from Iran, Central Asia and China deals with a diverse range of issues related to the East-West artistic relationship in the Middle Ages features in-depth studies of style, technique and iconography in Iranian art under the Mongols includes illustrations, 24 in colour.

Beyond the Silk Road 2. From a cultural point of view however, this museological approach tends to strip objects of their context, an effect that is counterproductive for explaining Islamic Chinoiserie motifs which were mostly independent of the medium.

Reframing the Alhambra Olga Bush. The Photograph Graham Clarke. Book paintings are the major section in this volume, with a focus on pre Ilkhanid examples from northwestern Iran and on regional manuscripts. Oxford University Press is a department of the University of Oxford.