Timurid art

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The Angel Hinders the Offering of Isaac, Shiraz 1410.

Timurid art is a style of art originating during the rule of the Timurid Empire (1370-1507). Timurid art was noted for its usage of both Persian and Chinese styles, as well as for taking influence from the art of other civilizations in Central Asia.[1] Scholars regard this time period as an age of cultural and artistic excellence. After the decline of the Timurid Empire, the art of the civilization continued to influence other cultures in West and Central Asia.[1][2]

History[]

The Timurid Empire was established by Timor the Lame in 1370 after the conquest of the various Ilkhanate successor states. After conquering a city, the Timurids commonly spared the lives of the local artisans and deported them to the Timurid capital of Samarkand. After the Timurids conquered Persia in the early 15th century, many Persian artistic traits became interwoven with existing Mongol art. Timor the Lame's conversion to Islam later in life made Samarkand one of the centers of Islamic art. In the mid 15th century the empire moved its capital to Herat, which became a focal point for Timurid art. As with Samarkand, Persian artisans and intellectuals soon established Herat as a center for arts and culture. Soon, many of the Timurids adopted Persian culture as their own.[3]

Illustration[]

Persian manuscript paintings usually are recognized regarding their embellished purpose. The paintings serve as a visual interpretation of the paired passages, customarily indicating royal authority and traditions. Timurid paintings also served as a medium for artistic performance and self-representation, Painters were considered the most skilled in their trade, and were highly regarded.[4] The illustrations often represented what was happening in the text. These pictorials were composed of faithful stories and lessons through vibrant worlds and displays that highlighted themes such as education, government, speech, and religious practice.[5][6]

Timurid art absorbed and improved upon the traditional Persian concept of the "Arts of the Book". The new, Timurid-inflected works of art saw illustrated paper (as opposed to parchment) manuscripts produced by the empire's artists. These illustrations were notable for their rich colors and elaborate designs.[7] Due to the quality of the miniature paintings found in these manuscripts, of the Metropolitan Museum of Art noted that "the Herat school [of manuscript painting] is often regarded as the apogee of Persian painting."[1]

These painting were not limited to manuscripts, as many Timurid artists also created intricate wall paintings. Many of these wall paintings depicted landscapes derived from both Persian and Chinese artistic traditions.[8] While the subject matter of these paintings was borrowed from other cultures, Timurid wall paintings were eventually refined into their own, unique style.[9] Mongol artistic traditions were not entirely phased out, as the highly stylized depictions of human figures seen in 15th-century Timurid art are derived from this culture.[10]

Manuscripts[]

Under the rule of the Timurid Empire, the production of illuminated manuscripts flourished. Characterized by rich colors and elaborate designs, these manuscripts served as essential documents of Timurid material culture and reflected the craftsmanship of differing conquered territories.[11] The Timurid art period is defined by artists like Kamāl ud-Dīn Behzād, Turkman Aq Quyunlu and many others. Often they were worked on by multiple artists over time, creating a combination of different art styles into each manuscript.

The Cairo Bustan[]

The Cairo Bustan is one of many influential manuscripts recorded in Persian book arts. The Cairo Bustan is among the few surviving illustrated manuscripts that hold records connected to Sultan Husayn Bayqara’s patronage. The manuscript describes and displays its historical content with noble precision, and contains many of Kamāl ud-Dīn Behzād original paintings. Behzād had produced the first complete record of this manuscript as well as its illustrations.[5] He was revered among Persian painters, and defined the height of Islamic manuscript paintings.

A page from the Anthology of Persian Poetry painted during Iskandar's reign. Painted in Shiraz, 1411.

Anthology of Persian Poetry[]

The Anthology of Persian Poetry is an illuminated manuscript that was copied down during the reign of Iskandar Sultan in 1411. Iskandar Sultan was a patron of the arts, and he was descended from Timur. After the first additions to the manuscript, some pages intended for illustration were left blank. Later these pages would be illustrated by Turkman Aq Quyunlu and other Ottoman creative minds.[12] By observing the style of each addition to the manuscript, historians can tell where the manuscript traveled during its creation. The nasta'liq writing in the manuscript was likely done by Mir ‘Ali Tabrizi, who was a well-known calligrapher of Shiraz manuscripts from 1405 to 1429.[13]

Metalwork, ceramics, and carving[]

The Timurid Empire also produced quality pieces of metalwork. Steel, iron, brass, and bronze were commonly used as mediums.[14] Timurid silver-inlaid steel is often being cited as being of particularly high quality.[15] Following the collapse of the Timurid Empire, several Iranian and Mesopotamian cultures co-opted Timurid metalwork.[14]

Chinese-style ceramics were produced by Timurid artisans. Jade carving also had some presence in Timurid art.[1]

Legacy[]

Following the decline of the Timurid Empire in the late 15th century, the Ottomans, Safavid dynasty, and Mughal Empire co-opted Timurid artistic traditions into their own.[2][1]

Gallery[]

  • A Timurid carved jade sword hilt.

  • Timurid-inspired image of Babur.

  • 15th century Timurid tankard made in Herat.

  • A fragmnt of Timurid Architecture made ca. 1375-1400, ceramic, stone paste; painted underglaze

  • A page from Anthology of Persian Poetry 15th Century, made of ink, gold leaf, opaque watercolor, silver leaf, book bound by leather

  • A page from the Qur’an of Ibrahim Sultan, made by Ibrahim Sultan, ca. 1427, watercolor, ink, gold leaf on paper

  • A page from "The Eavesdropper", Folio 47r from a Haft Paikar (Seven Portraits) of the Khamsa (Quintet) of Nizami, Calligrapher: Maulana Azhar, Poet: Nizami, ca. 1430, watercolor, ink, gold leaf on paper

  • A painting called "Wine Drinking in a Spring Garden", ca. 1430, gold and opaque watercolor on undyed silk

  • A page from "Laila and Majnun at School", Folio from a Khamsa (Quintet) of Nizami, Calligrapher: Ja'far Baisunghuri, Author: Nizami, 1431-1432, watercolor, ink, gold leaf on paper

  • Tile from a Squinch, late 14th century, stone paste carved and glazed

  • A bowl, late 15th century, black paint under turquoise glaze, incised

  • Section of a Qur'an Manuscript, Calligrapher: Copied by `Umar Aqta', late 14th century, watercolor, ink, gold leaf on paper

  • A folio from "Funeral Procession", Folio 35r from a Mantiq al-tair (Language of the Birds), Calligrapher: Sultan 'Ali al-Mashhadi, Author: Farid al-Din `Attar, 1487, watercolor, ink, gold and silver leaf on paper

  • Carved Door Panellate 15th century, made in present-day Uzbekistan, Samarqand, made of cypress, carved, painted

  • Divan of Sultan Husayn Baiqara, dated A.H. 905/ A.D. 1500, watercolor, ink, gold leaf on paper

References[]

  1. ^ a b c d e Komaroff, Authors: Suzan Yalman, Linda. "The Art of the Timurid Period (ca. 1370–1507) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". The Met’s Heilbrunn Timeline of Art History. Retrieved 2017-11-16.
  2. ^ a b "The Timurids and the Turkmen - The David Collection". www.davidmus.dk. Retrieved 2017-11-16.
  3. ^ B.F. Manz; W.M. Thackston; D.J. Roxburgh; L. Golombek; L. Komaroff; R.E. Darley-Doran (2007). "Timurids". Encyclopedia of Islam, online edition. "During the Timurid period, three languages, Persian, Turkish, and Arabic were in use. The major language of the period was Persian, the native language of the Tajik (Persian) component of society and the language of learning acquired by all literate and/or urban Turks. Persian served as the language of administration, history, belles lettres, and poetry."
  4. ^ "Timur and the princely vision: Persian art and culture in the fifteenth century". Choice Reviews Online. 27 (04): 27–1931-27-1931. 1989-12-01. doi:10.5860/choice.27-1931. ISSN 0009-4978.
  5. ^ a b Balafrej, Lamia (2019). The Making of the Artist in Late Timurid Painting. Edinburgh: Edinburgh University Press. pp. 1–13.
  6. ^ Karame, Alya (2018-04-19). "Alya Karame. Review of "The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts" by Massumeh Farhad and Simon Rettig". caa.reviews: 23–99. doi:10.3202/caa.reviews.2018.130. ISSN 1543-950X.
  7. ^ "Iransaga - Persian Art, The Timurids". www.artarena.force9.co.uk. Retrieved 2017-11-16.
  8. ^ "Timurids" The Columbia Encyclopedia (Sixth ed.). New York City: Columbia University. Retrieved 2006-11-08.
  9. ^ Lentz, W. Thomas. Dynastic Imagery in Early Timurid Wall Paintings. Los Angeles Museum of Art. URL:https://archnet.org/system/publications/contents/4320/original/DPC0599.pdf?1384784647
  10. ^ Blair, Sheila, and Bloom, Jonathan M., The Art and Architecture of Islam, 1250–1800, Chapter 5, 1995, Yale University Press. Pelican History of Art, ISBN 0300064659.
  11. ^ "Historical and Cultural Contexts", Esoteric Images: Decoding the Late Herat School of Painting, BRILL, pp. 5–16, 2019-04-02, retrieved 2021-12-06
  12. ^ "AQ QOYUNLŪ". Encyclopaedia Iranica Online. Retrieved 2021-12-06.
  13. ^ S. Brent Plate (2002). "Religion, art, and visual culture: a cross-cultural reader". Material Religion. 1 (2): 93. doi:10.2752/174322005778054159. ISSN 1743-2200.
  14. ^ a b electricpulp.com. "METALWORK – Encyclopaedia Iranica". www.iranicaonline.org. Retrieved 2017-11-16.
  15. ^ The Caspian Sea Journal ISSN: 1578-7899 Volume 10, Issue 1, Supplement 3 (2016) 127-132 The Compilation of One Object of Timurid Metalwork (12th Century) in the National Museum of Iran with Two Objects in National Museum of Yerevan-Armenia. URL: http://csjonline.org/CSJ/2016/Supp3/127-132.pdf
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