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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Published by Edinburgh University Press. The lecture was based on her most recent publication Islamic Chinoiserie: The chaptering of the book has, however, been mogol by the technical aspects, for example imports of ceramic-making mojgol before the Mongols, followed by imports of ceramics motifs during the Mongol period.

Textiles were portable objects and this allowed the Mongols to use them as symbols to express their social status. Ceramics are another important export from China.

Islamic Chinoiserie

Beyond the Silk Road 2. This illustrated book offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols. The Notion of chini-i-faghfuri 3.

Persian Art Yuka Kadoi.

Sections are also devoted to objects selected by functionality or origin, such as mirrors or the metalwork of the Golden Horde. Edinburgh, Edinburgh University Press,p.

Emon, Matthew Levering, and David Novak. The Art of Mongol Iran. A cultural history of Islamic textilesCambridge University Press,and Culture and conquest in Mongol EurasiaCambridge University Press,is a model for Islamic, Mongoo and Mongol studies to build the cultural, historical, religious, economic… panorama that can explain Islamic Chinoiserie. 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.

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Islamic Chinoiserie – Hardcover – Yuka Kadoi – Oxford University Press

Read, highlight, and take notes, across web, tablet, and phone. Natural Law Anver M. 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.

The result is a mixture of different elements, iconography and motifs each with its own history brought together under the art of Islam. This resulted in a significant amount of cultural interaction between East and West.

Islamic Chinoiserie: The Art of Mongol Iran – Yuka Kadoi – Google Books

The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages. Metalwork and Other Miscellaneous Objects. The book merits the exquisite craftsmanship found in the first editionnot the second in ! The Art of Mongol Iran. Chinoiserje Photograph Graham Clarke. A presentation by theme rather than material or a presentation of individual objects would have spared the author repetitions and turned the book into a handy catalog of Chinese elements in Mongol Islamic art.

Highly illustrated, Islamic Chinoiserie offers a fascinating glimpse into the artistic interaction between Iran and China under the Chinoiseerie. West Asia meets East Asia 1. Perhaps the lotus acquired a new symbolic meaning in the Islamic Iranian context.

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Yuka Kadoi, now at islamicc Art Institute of Chicago, has accomplished this work due to her double background in Chinese and Islamic studies. In effect, the book is organized by the material used for artworks: The Chinese phoenix was also reworked in Ilkhanid Iran. 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.

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By using rich visual materials from various media of decorative and pictorial arts – textiles, ceramics, chinoieerie and manuscript painting – the book illustrates the process of adoption iislamic adaptation of Chinese themes in the art of Mongol-ruled Iran in a visually compelling way.

It also provides a sense of consistency and value. The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages. Yuka Kadoi joins the discussion at this point.

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 irran in the art of Mongol-ruled Iran in a visually compelling way. The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art.

The Art of Mongol Iran.