Pub Date : 2000-01-01DOI: 10.1163/22118993-90000002
D. Roxburgh
The essays in this volume are revised versions of papers first presented at the conference, "The Making and Reception of Painting in the Pre-Modern Islamic World," held in May 1999 under the auspices of the Aga Khan Program for Islamic Architecture at Harvard University. Over two days, the speakers presented new research on various topics about painting and the arts of the book in the pre-modern Islamic world. Despite the breadth suggested by the conference's title, the majority of papers reflect a critical mass of scholarship that has grown up around painting and the arts of the book in Iran, Central Asia, and the Middle East, and within a literary milieu that was predominantly Persian, in the so-called classical period of Persian painting, spanning the fourteenth through the sixteenth century. Some of the essays dealt with earlier periods or expanded the geographical boundaries to offer perspectives on the art tradition in its formation and in its later reception as a cultural construct. The division of this volume's essays into four categories reflects the organization of the conference.' As defined at the conference's inception, the categories encompass, first, the materials and methods used for book production; second, the conception and realization of painting; third, theories of painting and aesthetics; and fourth, later responses to paintings and books. By providing a thematic framework, these categories allowed a critical discussion of the physical and written sources that extended beyond the specifics of individual papers to question methods used to study manuscript painting and generally accepted scholarly paradigms and the foundations of arguments. The critical insights of the four discussants-Yves Porter, Marianna Shreve Simpson, Irene Winter, and Gillru Necipoglu-greatly added to the debate. From its formative stages, Persian painting in both manuscripts and single-sheet images quickly emerged as a principal subject of scholarly interest, alongside the equally developed categories of architecture, ceramics, and carpets. Significant space was allocated to painting and the arts of the book in the first exhibitions of this century; indeed, some of them displayed painting to the exclusion of all other arts.2 But it has been quite a long time since a conference was devoted exclusively to painting and the arts of the book, and this r quires some comment. Chang s in the scholarship on Islamic art and architecture, as well as in pedagogy, have been reflected in the conf rences of recent years. A few-for example, a recent conference on the exhibition and collection of Islamic art,3 and another about pre-modern Islamic palaces4--were organized along thematic lines. Conferences on the art and architecture of the
{"title":"THE STUDY OF PAINTING AND THE ARTS OF THE BOOK","authors":"D. Roxburgh","doi":"10.1163/22118993-90000002","DOIUrl":"https://doi.org/10.1163/22118993-90000002","url":null,"abstract":"The essays in this volume are revised versions of papers first presented at the conference, \"The Making and Reception of Painting in the Pre-Modern Islamic World,\" held in May 1999 under the auspices of the Aga Khan Program for Islamic Architecture at Harvard University. Over two days, the speakers presented new research on various topics about painting and the arts of the book in the pre-modern Islamic world. Despite the breadth suggested by the conference's title, the majority of papers reflect a critical mass of scholarship that has grown up around painting and the arts of the book in Iran, Central Asia, and the Middle East, and within a literary milieu that was predominantly Persian, in the so-called classical period of Persian painting, spanning the fourteenth through the sixteenth century. Some of the essays dealt with earlier periods or expanded the geographical boundaries to offer perspectives on the art tradition in its formation and in its later reception as a cultural construct. The division of this volume's essays into four categories reflects the organization of the conference.' As defined at the conference's inception, the categories encompass, first, the materials and methods used for book production; second, the conception and realization of painting; third, theories of painting and aesthetics; and fourth, later responses to paintings and books. By providing a thematic framework, these categories allowed a critical discussion of the physical and written sources that extended beyond the specifics of individual papers to question methods used to study manuscript painting and generally accepted scholarly paradigms and the foundations of arguments. The critical insights of the four discussants-Yves Porter, Marianna Shreve Simpson, Irene Winter, and Gillru Necipoglu-greatly added to the debate. From its formative stages, Persian painting in both manuscripts and single-sheet images quickly emerged as a principal subject of scholarly interest, alongside the equally developed categories of architecture, ceramics, and carpets. Significant space was allocated to painting and the arts of the book in the first exhibitions of this century; indeed, some of them displayed painting to the exclusion of all other arts.2 But it has been quite a long time since a conference was devoted exclusively to painting and the arts of the book, and this r quires some comment. Chang s in the scholarship on Islamic art and architecture, as well as in pedagogy, have been reflected in the conf rences of recent years. A few-for example, a recent conference on the exhibition and collection of Islamic art,3 and another about pre-modern Islamic palaces4--were organized along thematic lines. Conferences on the art and architecture of the","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"123 1","pages":"1-16"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76129700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1163/22118993-90000008
P. Souček
Any attempt to survey the development and significance of portraiture in the Persian pictorial tradition requires the synthesis of scattered and often contradictory materials. Earlier efforts to analyze the role of portraits in the visual culture of the Islamic world have confronted seemingly insoluble problems. Textual and pictorial evidence attests that at certain times portraiture flourished, particularly in Iran, Central Asia, and India. On the other hand, religious scruples evidenced in Koranic commentaries that circulated among both Sunni and Shi'a scholars, concerning the impropriety of a person seeking to usurp the creative role of God by producing images of animate beings appear to preclude the production of individualized portraits. Attempts to amalgamate this conflicting evidence into a coherent whole have been hampered by the absence of any theoretical model for evaluating the relative significance of its constituent elements. Little attention has been paid either to reconstructing the functions served by portraiture or even to defining what constitutes a portrait within the Persian cultural sphere. The aim of this essay is to create a historical and conceptual framework for analyzing the role of portraiture in the pictorial tradition of pre-modern Iran and related regions and thereby lay the foundations for a more satisfactory resolution of these complicated questions. Investigations into the role of images in various regions of the Islamic world have reached different and sometimes intrinsically contradictory conclusions. Some studies refer tangentially to the question of portraits in the course of a broader consideration of at-
{"title":"THE THEORY AND PRACTICE OF PORTRAITURE IN THE PERSIAN TRADITION","authors":"P. Souček","doi":"10.1163/22118993-90000008","DOIUrl":"https://doi.org/10.1163/22118993-90000008","url":null,"abstract":"Any attempt to survey the development and significance of portraiture in the Persian pictorial tradition requires the synthesis of scattered and often contradictory materials. Earlier efforts to analyze the role of portraits in the visual culture of the Islamic world have confronted seemingly insoluble problems. Textual and pictorial evidence attests that at certain times portraiture flourished, particularly in Iran, Central Asia, and India. On the other hand, religious scruples evidenced in Koranic commentaries that circulated among both Sunni and Shi'a scholars, concerning the impropriety of a person seeking to usurp the creative role of God by producing images of animate beings appear to preclude the production of individualized portraits. Attempts to amalgamate this conflicting evidence into a coherent whole have been hampered by the absence of any theoretical model for evaluating the relative significance of its constituent elements. Little attention has been paid either to reconstructing the functions served by portraiture or even to defining what constitutes a portrait within the Persian cultural sphere. The aim of this essay is to create a historical and conceptual framework for analyzing the role of portraiture in the pictorial tradition of pre-modern Iran and related regions and thereby lay the foundations for a more satisfactory resolution of these complicated questions. Investigations into the role of images in various regions of the Islamic world have reached different and sometimes intrinsically contradictory conclusions. Some studies refer tangentially to the question of portraits in the course of a broader consideration of at-","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"404 1","pages":"97-107"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85501645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1163/22118993-90000005
Eva R. Hoffman
{"title":"THE BEGINNINGS OF THE ILLUSTRATED ARABIC BOOK: AN INTERSECTION BETWEEN ART AND SCHOLARSHIP","authors":"Eva R. Hoffman","doi":"10.1163/22118993-90000005","DOIUrl":"https://doi.org/10.1163/22118993-90000005","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"36 1","pages":"37-52"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90048891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1163/22118993-90000006
A. Soudavar
Shah Isma`il's (r. 1501-24) emphasis on educating his sons in the fine arts together with the activation of the royal library-atelier for the great Shãhnãma project promised an ever expanding horizon for the future of Persian painting. But Sha h Tahmasb's (r. 1524-76) early disenchantment with painting, followed by the precipitated death of his brothers cut short all such prospects. Then, as the second generation of princes led by the talented patron-prince Ibrahim Mirza (1540-77), was about to revive the royal library-ateliers, the house of the Safavids was hit by the devastating fratricide launched by Isma`il II (1576-78). By the time Isma`il II was in turn assassinated, only the blind prince Muhammad and a few very young princes were still alive. And yet, Persian painting continued to flourish as new modes of expression were tested and attempts were made to brake the molds of classical painting. The initial assault was led by Mirza `Ali and Shaykh Muhammad in the Mashhad atelier of Ibrahim Mirza. But it was the painter Muhammadi who channeled the revolutionary style of these two masters into a calligraphic mode that harmonized Persian painting with the flowing patterns of Persian poetry; a mode subsequently adopted and popularized by the celebrated Riza `Abbasi.
Shah Isma 'il(1501- 1524年)重视对儿子们进行美术教育，并为伟大的sh hn ma项目激活了皇家图书馆-工作室，为波斯绘画的未来提供了不断扩大的视野。但是shah Tahmasb(1524-76)早期对绘画的幻想破灭，随后他的兄弟们的突然死亡使所有这些前景都缩短了。然后，在才华横溢的庇护王子易卜拉辛·米尔扎(Ibrahim Mirza, 1540-77)领导的第二代王子即将复兴皇家图书馆-工作室时，萨法维王朝遭到了伊斯玛伊尔二世(Isma 'il II, 1576-78)发起的毁灭性的自相残杀。到伊斯玛二世被暗杀时，只有失明的穆罕默德王子和几个非常年轻的王子还活着。然而，随着新的表达方式的测试和打破古典绘画模式的尝试，波斯绘画继续蓬勃发展。最初的袭击是由米尔扎·阿里和谢赫·穆罕默德在易卜拉欣·米尔扎的马什哈德工作室领导的。但正是画家穆罕默迪将这两位大师的革命风格引入了一种书法模式，使波斯绘画与波斯诗歌的流动模式相协调;这种模式后来被著名的Riza Abbasi采用并推广开来。
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Pub Date : 2000-01-01DOI: 10.1163/22118993-90000009
Yves Porter
Sura 68 of the Koran begins with the phrase, "Nfin wa'l-qalam wa mayasturin .. ." (Nin. By the pen and by what they inscribe ... ). This enigmatic sentence, in which the angels seem to dip their pen in the inkwell of the niin,l as well as later interpretations (tafsTr) and traditions (hadith), greatly contributed to the kind of divine homage given to Islamic calligraphers. 2 Painters did not benefit from such grace, however, as we know from later religious texts like the hadith, in which opposition to painting was even more open. 3 It is amazing, therefore, to see the efforts Persian painters (and poets!) made to link these two forms of expression. The efforts are particularly exemplified in the arts of the book that were so magnificently practiced in Iran during the period termed "classical."4 These attempts to link calligraphy and painting have a long history, and their evolution-in illuminated manuscripts as well as in literary production-can be followed through various stages. The Iranian world has a well-established tradition of images that goes back to antiquity; an example of the coexistence of text and image in this area can be traced as far back as Achaemenian times, with the inscription of Darius the Great in Bisutun (sixth century B.C.). The structural relation between text and image became increasingly intricate in illustrated manuscripts, at least from the middle of the fourteenth century onwards. These links can be observed, among other things, through the composition and layout of the paintings, which were achieved with the help of calligraphic ruling (the mastar). These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between calligraphy and painting found during the classical period of Persian painting had some theoretical basis, and, if it did, whether we have any chance of discovering what it was. Two "theories"-one, the so-called theory of the two qalams and the other known as the "seven principles of painting"-can throw some light on the subject. Although probably drawing on an earlier literary tradition, both of these theories appeared in Safavid Iran, and both represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic art. Some introductory remarks on the Persian literature on art are first necessary to provide a general framework in which these theories appeared and a glimpse of the place the artist occupied in that literature. Although some of these texts have been translated into Western languages, others have not and therefore remain out of the reach of the majority of scholars. One of the first Persian texts to be translated was Qadi Ahmad's Gulistdn-i hunar.5 This biographical account of calligraphers and painters was written between 1596 and 1606 and can be considered fundamental to the history of the arts of Safavid times. As the great Iranian scholar M. T. Danish-Pazhuh has shown, however, s
《可兰经》第68章以这样一句话开始:“Nfin wa'l-qalam wa mayasturin……”通过笔和他们所写的……)． 在这个神秘的句子中，天使们似乎把他们的笔浸入了墨水瓶中，以及后来的解释(tafsTr)和传统(圣训)，极大地促进了对伊斯兰书法家的神圣敬意。然而，正如我们从后来的圣训等宗教文本中所知，画家并没有从这种优雅中受益，在这些文本中，对绘画的反对更加公开。因此，看到波斯画家(和诗人!)将这两种表现形式联系起来的努力是令人惊讶的。这些努力在书中的艺术中得到了特别的体现，这些艺术在伊朗被称为“古典”时期得到了如此辉煌的实践。这些将书法和绘画联系起来的尝试有着悠久的历史，它们的演变——无论是在彩绘手稿中还是在文学作品中——都可以经历不同的阶段。伊朗世界有着悠久的图像传统，可以追溯到古代;该地区文字和图像共存的一个例子可以追溯到阿契美尼安时代，在比苏屯(公元前6世纪)有大流士大帝的铭文。至少从14世纪中期开始，文字和图像之间的结构关系在插图手稿中变得越来越复杂。这些联系可以通过绘画的构图和布局观察到，这些构图和布局是在书法统治(大师)的帮助下实现的。这些关系似乎在一些波斯诗歌文本中有所表达。在波斯绘画的古典时期发现的这种书法和绘画之间的关系是否有一些理论基础，如果有的话，我们是否有机会发现它是什么，这将是一件很有趣的事情。两种“理论”——一种是所谓的“两戒”理论，另一种是所谓的“绘画七原则”——可以给这个问题带来一些启示。尽管这两种理论可能借鉴了更早的文学传统，但它们都出现在萨法维王朝的伊朗，都代表了一种将绘画与书法联系起来的尝试，以使前者在伊斯兰艺术中具有某种合法性。首先有必要对波斯艺术文学作一些介绍性的评论，以提供这些理论出现的一般框架，并瞥见艺术家在这些文学中所占据的位置。虽然其中一些文本已被翻译成西方语言，但其他文本尚未翻译，因此大多数学者仍无法接触到。第一批被翻译的波斯文本之一是卡迪·艾哈迈德的《古利斯丁-伊哈纳》这本书法家和画家的传记写于1596年至1606年之间，可以被认为是萨法维时代艺术史的基础。然而，正如伟大的伊朗学者M. T. Danish-Pazhuh所表明的那样，卡迪·艾哈迈德文本的某些部分实际上是从阿卜迪·贝格·谢拉兹的作品中摘取的。在这些借用中，有一段特别让专家们得出了所谓的“两个卡拉姆理论”。因此，这一理论将根据Abdi Beg Shirazi的原创诗歌《亚历山大的规则》(Ayin-i Iskandart，约1543年)及其追随者的作品进行分析，该诗歌从未被翻译过。对这一理论的研究——即使这个词确实有些夸张——可以对书法与绘画之间存在的关系提供一些启示。在Sadiq Beg Afshar的《Qanf2n al-suvar》的帮助下，我们可以从文本和图像之间的形式关系转向形式和意义之间更理智的对应关系
{"title":"FROM THE “THEORY OF THE TWO QALAMS” TO THE “SEVEN PRINCIPLES OF PAINTING”: THEORY, TERMINOLOGY, AND PRACTICE IN PERSIAN CLASSICAL PAINTING","authors":"Yves Porter","doi":"10.1163/22118993-90000009","DOIUrl":"https://doi.org/10.1163/22118993-90000009","url":null,"abstract":"Sura 68 of the Koran begins with the phrase, \"Nfin wa'l-qalam wa mayasturin .. .\" (Nin. By the pen and by what they inscribe ... ). This enigmatic sentence, in which the angels seem to dip their pen in the inkwell of the niin,l as well as later interpretations (tafsTr) and traditions (hadith), greatly contributed to the kind of divine homage given to Islamic calligraphers. 2 Painters did not benefit from such grace, however, as we know from later religious texts like the hadith, in which opposition to painting was even more open. 3 It is amazing, therefore, to see the efforts Persian painters (and poets!) made to link these two forms of expression. The efforts are particularly exemplified in the arts of the book that were so magnificently practiced in Iran during the period termed \"classical.\"4 These attempts to link calligraphy and painting have a long history, and their evolution-in illuminated manuscripts as well as in literary production-can be followed through various stages. The Iranian world has a well-established tradition of images that goes back to antiquity; an example of the coexistence of text and image in this area can be traced as far back as Achaemenian times, with the inscription of Darius the Great in Bisutun (sixth century B.C.). The structural relation between text and image became increasingly intricate in illustrated manuscripts, at least from the middle of the fourteenth century onwards. These links can be observed, among other things, through the composition and layout of the paintings, which were achieved with the help of calligraphic ruling (the mastar). These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between calligraphy and painting found during the classical period of Persian painting had some theoretical basis, and, if it did, whether we have any chance of discovering what it was. Two \"theories\"-one, the so-called theory of the two qalams and the other known as the \"seven principles of painting\"-can throw some light on the subject. Although probably drawing on an earlier literary tradition, both of these theories appeared in Safavid Iran, and both represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic art. Some introductory remarks on the Persian literature on art are first necessary to provide a general framework in which these theories appeared and a glimpse of the place the artist occupied in that literature. Although some of these texts have been translated into Western languages, others have not and therefore remain out of the reach of the majority of scholars. One of the first Persian texts to be translated was Qadi Ahmad's Gulistdn-i hunar.5 This biographical account of calligraphers and painters was written between 1596 and 1606 and can be considered fundamental to the history of the arts of Safavid times. As the great Iranian scholar M. T. Danish-Pazhuh has shown, however, s","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"72 1","pages":"109-118"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89545781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1163/22118993-90000013
John Seyller
The exercise of connoisseurship on Mughal paintings is practically irresistible. The paintings are varied in subject and have a level of formal detail which rewards sustained scrutiny. Because so many illustrated Mughal manuscripts are securely dated, most individual Mughal paintings can be dated to within a few years, and many are signed by or ascribed to individual artists. The availability of this kind of documentation has encouraged scholars to make extraordinarily subtle distinctions among the careers and personal styles of various imperial painters. Most scholars assume that the Mughal emperors had a similar focus on the artist, and point to Jahangir's singular claim to this brand of connoisseurship:
{"title":"A MUGHAL CODE OF CONNOISSEURSHIP","authors":"John Seyller","doi":"10.1163/22118993-90000013","DOIUrl":"https://doi.org/10.1163/22118993-90000013","url":null,"abstract":"The exercise of connoisseurship on Mughal paintings is practically irresistible. The paintings are varied in subject and have a level of formal detail which rewards sustained scrutiny. Because so many illustrated Mughal manuscripts are securely dated, most individual Mughal paintings can be dated to within a few years, and many are signed by or ascribed to individual artists. The availability of this kind of documentation has encouraged scholars to make extraordinarily subtle distinctions among the careers and personal styles of various imperial painters. Most scholars assume that the Mughal emperors had a similar focus on the artist, and point to Jahangir's singular claim to this brand of connoisseurship:","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"15 1","pages":"177-202"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86495683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-01-01DOI: 10.1163/22118993-90000383
Ömür Baklrer
{"title":"THE STORY OF THREE GRAFFITI","authors":"Ömür Baklrer","doi":"10.1163/22118993-90000383","DOIUrl":"https://doi.org/10.1163/22118993-90000383","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"140 1","pages":"42-69"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90643419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-01-01DOI: 10.1163/22118993-90000387
M. al-Asad
{"title":"THE MOSQUE OF THE TURKISH GRAND NATIONAL ASSEMBLY IN ANKARA: BREAKING WITH TRADITION","authors":"M. al-Asad","doi":"10.1163/22118993-90000387","DOIUrl":"https://doi.org/10.1163/22118993-90000387","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"16 1","pages":"155-168"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90153065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-01-01DOI: 10.1163/22118993-90000382
E. Baer
{"title":"THE HUMAN FIGURE IN EARLY ISLAMIC ART: SOME PRELIMINARY REMARKS","authors":"E. Baer","doi":"10.1163/22118993-90000382","DOIUrl":"https://doi.org/10.1163/22118993-90000382","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"4 1","pages":"32-41"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78304451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-01-01DOI: 10.1163/22118993-90000380
R. Grafman, M. Rosen-Ayalon
{"title":"THE TWO GREAT SYRIAN UMAWAD MOSQUES: JERUSALEM AND DAMASCUS","authors":"R. Grafman, M. Rosen-Ayalon","doi":"10.1163/22118993-90000380","DOIUrl":"https://doi.org/10.1163/22118993-90000380","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"20 1","pages":"1-15"},"PeriodicalIF":0.4,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81939910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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