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.
|Published (Last):||24 June 2014|
|PDF File Size:||9.70 Mb|
|ePub File Size:||4.54 Mb|
|Price:||Free* [*Free Regsitration Required]|
The Photograph Graham Clarke.
Paintings combined Christian, Buddhist, and Islamic iconography. With the fascination of portable objects brought from China and Central Asia, Islamic Iran adopted this lotus motif and adapted it to their designs creating a more stylized version than the Chinese lotus. 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 fhe in Iranian art under the Mongols includes illustrations, 24 in colour.
Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale under the auspices of the Pax Mongolica. The result is a mixture of different elements, iconography and motifs each with its own history brought together under the art of Islam.
The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages. 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.
Yuka Kadoi joins the discussion at this point. No eBook available Amazon. Iranian depictions of the Chinese phoenix were more geometrically composed and symmetrical. It furthers the University’s chinoiswrie of excellence in research, scholarship, and education by publishing worldwide.
The dragon symbolized the emperor of China, but Iran transferred the symbol chinoiseire refer to the Mongol rulers in Iran. Edinburgh, Edinburgh University Press,p.
Account Options Sign in. The lotus motif originates from Buddhist China.
Islamic Chinoiserie: The Art of Mongol Iran – Yuka Kadoi – Google Books
Oxford University Press is a department of the University of Oxford. One interesting image that was adopted in Islamic Iran from China was the lotus motif, which appears in textiles, manuscripts, metalwork and architectural decorations.
The typical Chinese phoenix would be depicted with a long impressive tail and a distinctive face within a naturalistic setting or background. The Art of Mongol Iran.
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.
Abstracta Iranica Revue bibliographique pour le domaine irano-aryen. West Asia meets East Asia 1. Choose your country or region Close.
Published by Edinburgh University Press. Edinburgh University Press- Art – pages. 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.
However an overview of the phenomenon has yet to be made. 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.
The multi-cultural education of researchers and a team approach are the keys to accessing sources originating in eastern and western Asia. The observation of this unique artistic phenomenon serves to promote the understanding islqmic the artistic diversity of Islamic art cinoiserie the Middle Ages.
Yuka Kadoi, now at the Art Institute of Chicago, has accomplished this work due to her double background in Chinese and Islamic studies. When Eurasia was conquered by the Mongols, there was an exchange of people, goods and ideas between East and West. Kadoi concluded by explaining how her research in Islamic Chinoiserie examines the Islamic admiration and understanding of Chinese style and techniques and how that was fundamental in developing Iranian Islamic art during and after the Mongol invasion.
The example Kadoi discussed was a painting of The Annunciation a Christian subject matter. This resulted in a significant amount of cultural interaction between East and West. Focus is on human beings and their artifacts face shapes, dress peculiarities, ceremonies, architecture Read, highlight, and take notes, across web, tablet, and phone. 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.
The book merits the chinoisfrie craftsmanship found in the first editionnot the second in ! Persian Art Yuka Kadoi. The Art of Mongol Iran. The lecture was based on her most recent publication Chinoiseeie Chinoiserie: It has long been accepted that the formation of the Mongol Empire by Chinggis Khan at the qrt of the islaimc century was one of the defining moments in world history.
From inside the book.
Textiles were portable objects and this allowed the Mongols to use them as symbols to express their social status. The Notion of chini-i-faghfuri 3. The Mongols were very interested in textiles and used it as a form of art propaganda. Other editions – View all Islamic Chinoiserie: Chinolserie Skip to main content.
This illustrated book offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols. Highly illustrated, Islamic Chinoiserie offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongl.
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 irann incorporated them into their own style. She is currently Andrew W.
A cultural history of Islamic textilesCambridge University Press,and Culture and conquest in Mongol EurasiaCambridge University Press,is a model for Islamic, Chinese and Mongol studies to build the cultural, historical, religious, economic… panorama that can explain Islamic Chinoiserie. 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.