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Article

Çigdem Kafesçioglu and Walter B. Denny

In 

Article

S. J. Vernoit

[Abū’l-Qāsim]

(fl c. 1816).

Persian painter. His only known work is a long composition depicting the Qajar monarch Fath ‛Ali Shah (reg 1797–1834) entertained by female musicians and dancers. The only surviving fragments of it are a painting of the shah (London, B. W. Robinson priv. col.) and three paintings of the entertainers (Tehran, Nigaristan Mus., ex-Amery priv. col.). The paintings of a woman playing a drum and of a woman playing a stringed instrument are signed raqam-i kamtarīn Abū’l-Qāsim (‘painted by the most humble Abu’l-Qasim’) and dated 1816, but the third painting showing a woman dancing is half-length and damaged. All the fragments share the same continuous architectural background and scale (a little less than life-size). Robinson has suggested that this mural might be the one described in the mid-19th century by the traveller Robert Binning, who reported that the house he occupied in Shiraz contained a painting of Fath ‛Ali Shah seated in state attended by ten women. The composition extended around three sides of the room and the figures were almost life-size. This identification suggests that Abu’l-Qasim might have been a native of Shiraz....

Article

Sheila S. Blair and Jonathan M. Bloom

(b. Oakland, CA, 1893; d. Shiraz, Iran, 25 Jan. 1977).

American historian of Iranian art. While studying mathematics at the University of California, Berkeley, Ackerman met and eventually married Arthur Upham Pope, with whom she had taken courses in philosophy and aesthetics. In 1926 she and Pope organized the first ever exhibition of Persian art at the Pennsylvania Museum and helped create the First International Congress of Oriental Art. In 1930 Ackerman was stricken with polio but taught herself to walk again. They were instrumental in preparing the 1931 Persian Art Exhibition at Burlington House, London, and the Second International Congress of Iranian Art and Archaeology, as well as the Third Congress in Leningrad (now St. Petersburg) in 1935 and the exhibition of Iranian art at the Iranian Institute in New York in 1940. She visited Iran for the first time in 1964, when the shah of Iran invited Pope to revive the Asia Institute; it was associated with Pahlavi University in Shiraz until ...

Article

[Muḥammad Ḥasan Khān Afshār]

(fl c. 1835–1865).

Persian painter. A noted court painter and portraitist under the Qajar rulers Muhammad Shah (reg 1834–48) and Nasir al-Din (reg 1848–96), Muhammad Hasan Afshar was awarded the title Painter Laureate (Pers. naqqāsh bāshī). A portrait dated 1847 in the Churchill Album (London, BL, Or. MS. 4938) depicts Muhammad Shah seated in a red tunic with blue sash and flashing diamonds. The artist’s most remarkable works are three life-size oil portraits of Nasir al-Din (Tehran, Gulistan Pal.; Tehran, Moghaddam priv. col. (see Robinson, 1991, fig.); and Isfahan, Chihil Sutun Palace, dated 1860). The artist also painted small varnished objects, such as a penbox dated 1846 (priv. col., see Robinson, 1989, fig.), which has a scene of the Last Judgement on the top and a Napoleonic battle scene on one side. The penbox was only finished in 1861 by Isma‛il Jalayir, who added a scene of the Qajar monarch Muhammad Shah in battle on the other side and a design and inscription on the base. Other members of the Afshar family also painted similar objects, such as another penbox with a scene of the Last Judgement (Los Angeles, CA, Co. Mus. A., 73.5.159)....

Article

Ahmad  

[Aḥmad]

(fl 1815–50).

Persian painter. He specialized in oil portraits of the Qajar rulers Fath ‛Ali Shah (reg 1797–1834) and Muhammad (reg 1834–48). To judge from Ahmad’s style, he was a pupil of Mihr ‛Ali (see islamic art, §viii, 11(i)). His early works include two portraits of Fath ‛Ali Shah. One dated 1818–19 (untraced) shows the Shah, whose face has been repainted, in full armour seated on the chair-like throne known as the takht-i nādirī and part of the Iranian Crown Jewels. A second portrait dated 1822–3 (Tehran, Brit. Embassy) shows the ruler seated on a jewelled carpet with a hooka at his side. Ahmad’s later work is more Europeanized in style. A large painting dated 1844 (Tehran, Gulistan Pal. Lib.) depicts Muhammad reviewing his troops, and another oil dated 1846 (Tehran, Firuz priv. col.) is a fine bust portrait of the monarch. Two paintings of female acrobats have also been attributed to his hand on the basis of the bold palette, bravura treatment of pattern and use of white to delineate eyelids and forehead....

Article

Çigdem Kafesçioglu and Walter B. Denny

In 

Article

Marianne Barrucand

[‛Alawī; Filālī]

Islamic dynasty and rulers of Morocco since 1631. Like their predecessors the Sa‛dis, the ‛Alawis are sharīfs (descendants of the Prophet Muhammad), and both dynasties are sometimes classed together as the ‘Sharifs of Morocco’. From a base in the Tafilalt region of south-east Morocco, the ‛Alawi family was able to overcome the centrifugal forces exerted by the Berber tribes who had destroyed the Sa‛di state in the first half of the 17th century. To restore political authority and territorial integrity, Mawlay Isma‛il (reg 1672–1727) added a new black slave corps to the traditional tribal army. Although royal power was weak during the 19th century and the early 20th, when the French and Spanish established protectorates, the ‛Alawis’ power was fully restored after independence from the French in 1956.

‛Alawi building activities (see Islamic art, §II, 7(v)) were concentrated in the four cities that have served as their capitals: Fez and Marrakesh at various times from ...

Article

‛Ali  

S. J. Vernoit

[‛Alī; Ḥusayn ‛Alī]

(fl c. 1800–20).

Persian enamel painter. All of his work is associated with the patronage of the Qajar monarch Fath ‛Ali Shah (reg 1797–1834). ‛Ali signed his work with the title ghulām khānazād (‘slave born in the household’) signifying ‘artist in the royal service’. A jewelled nephrite dish (Vienna, Ksthist. Mus., Samml. Plastik & Kstgew., M3223) presented in 1819 by the Persian ambassador Abu’l-Hassan Khan to the Austrian emperor Francis I (reg 1792–1835) has a central gold plaque enamelled with a full-length portrait of Fath ‛Ali Shah (dated 1817–18), inspired by Mihr ‛Alis life-size oil portrait (Tehran, Nigaristan Mus.). Other objects enamelled by ‛Ali include an oval mirror with a carved jade handle (Tehran, Bank Markazi, Crown Jewels Col.); on the back is an enamel portrait of Fath ‛Ali Shah seated within a floral frame, probably the finest painted enamel in the collection (see Islamic art, §viii, 3...

Article

S. J. Vernoit

[Şeker Ahmet Pasha]

(b Üsküdar, Istanbul, 1841; d Istanbul, 1907).

Turkish painter. In 1859 he became an assistant teacher of painting at the Military Medical High School in Istanbul. In 1864 Sultan Abdülaziz (reg 1861–76) sent him to Paris where, after a preparatory education at a special Ottoman school, he studied painting in the studio of Gustave Boulanger and then under Jean-Léon Gérôme at the Ecole des Beaux-Arts. Ahmet Ali was also instrumental in the acquisition of paintings from France for the Ottoman court. After nearly eight years of studies in Paris, he stayed in Rome for a year before returning to Istanbul, where he resumed his work at the Military Medical High School. In 1873 he organized in Istanbul the first group exhibition of paintings by Turkish and foreign artists to be held in Turkey. He was later appointed master of ceremonies at the Ottoman court and by the time of his death had risen to the office of intendant of the palace. His paintings were influenced by European art. They include landscapes, such as ...

Article

[Mihr ‛Alī]

(fl c. 1795–1830).

Persian painter. He produced at least ten full-size oil paintings of the Qajar monarch Fath ‛Ali Shah (reg 1797–1834). One of the earliest (1797–8; Calcutta, Victoria Mem. Hall), a portrait of him kneeling on a carpet, was probably sent as a present to the amirs of Sind in 1800. Two fine portraits (1803–4 and 1804–5) were painted for the Hall of the Marble Throne in the Gulistan Palace, Tehran, and a third, of the King enthroned (undated; Versailles, Château), was sent to Napoleon. These early portraits show Fath ‛Ali Shah with a squat neck and round face, but Mihr ‛Ali’s drawings improved in the first decade of the 19th century and later portraits show the King with more flattering proportions. These later paintings include portraits of the King standing (1809–10; St Petersburg, Hermitage), kneeling and holding a mace (1813–14; St Petersburg, Hermitage), and a third with the date obliterated (London, B. W. Robinson priv. col.). Mihr ‛Ali’s finest portrait, and perhaps the finest ...

Article

Frederick N. Bohrer

Style of the second half of the 19th century and the early 20th, inspired by Assyrian artefacts of the 9th to 7th centuries bc. These were first brought to public attention through the excavations by Paul-Emile Botta (1802–70) at Khorsabad and Austen Henry Layard at Nimrud in the 1840s. By 1847 both the Louvre in Paris and the British Museum in London had begun to display these objects, the size and popularity of which were such that the Louvre created a separate Musée des Antiquités Orientales, while the British Museum opened its separate Nineveh Gallery in 1853. The same popularity, fuelled by Layard’s best-selling Nineveh and its Remains (London, 1849) and Botta’s elaborate Monument de Ninive (Paris, 1849–50), led to further explorations elsewhere in Mesopotamia.

Assyrian revivalism first appeared in England rather than France, which was then in political turmoil. The earliest forms of emulation can be found in the decorative arts, such as the ‘Assyrian style’ jewellery that was produced in England from as early as ...

Article

M. N. Sokolov

(Konstantinovich)

(b Feodosiya [now Kaffa], July 29, 1817; d Feodosiya, June 2, 1900).

Russian painter of Armenian descent. The son of an Armenian merchant, throughout his life he kept his links with the ancient traditions of Armenian Christian culture. He studied at the Academy of Arts, St Petersburg, in 1833–7 under Maksim Vorob’yov (1787–1855), a prominent Russian landscape painter of the Romantic period. From 1845 Ayvazovsky worked predominantly in Feodosiya, an ancient city in the Eastern Crimea. He travelled widely in Russia and Europe, the Near East, Africa and America. Ayvazovsky’s first significant paintings testify to his attentive assimilation of the canons of Romantic seascape painting, going back to Claude Lorrain, as well as the influence of Vorob’yov and the late works of Sil’vestr Shchedrin. In Ayvazovsky’s early works the accurate rendering of views is combined with a classicist rationality of composition, as in View of the Seashore in the Environs of St Petersburg (1835; Moscow, Tret’yakov Gal.)

A purely Romantic view of the world and exaltation in the face of the boundless, eternally changing sea find mature expression in the works of the 1840s, when Ayvazovsky gained renown throughout Europe. A number of foreign academies made him an honorary member, and J. M. W. Turner wrote an enthusiastic ode in honour of one of his pictures. The best-known work of this period is the ...

Article

[Mīrzā Bābā]

(fl c. 1795–1830).

Persian painter. Reportedly a native of Isfahan, he was employed by the Qajar family at Astarabad, as indicated by a signed drawing of a dragon and phoenix (1788–9; ex-Pozzi priv. col.). After Agha Muhammad (reg 1779–97) ascended the throne, Mirza Baba worked at the Qajar court in Tehran in a wide variety of materials, techniques and scales. His oil portrait (1789–90; Tehran, Nigaristan Mus.) of the Sasanian king Hurmuzd IV (reg ad 579–90) probably belonged to a series of historical portraits, for Mirza Baba painted a second series a decade later. One of the two surviving paintings from the later series (Tehran, A. H. Ibtihaj priv. col.) shows the Saljuq ruler Malikshah (reg 1072–92) with his two ministers. Other early works by Mirza Baba include a still-life with pomegranates, watermelon and flowers (?1793–4; Tehran, Nigaristan Mus.) and an arched panel showing Shirin Visiting Farhad as He Carves Mt Bisitun...

Article

Kirk Ambrose

(b Moscow, May 7, 1903; d Paris, Jan 25, 1988).

Lithuanian art historian, scholar of folklore and Egyptology, and diplomat of Russian birth. Son of the celebrated Lithuanian Symbolist poet of the same name, Jurgis Baltrušaitis II studied under Henri(-Joseph) Focillon at the Sorbonne and earned the PhD in 1931. The concerns of his mentor are evident in La stylistique ornementale dans la sculpture romane (1931), which reprises and extends arguments for the ‘law of the frame’ in Romanesque sculpture. Accordingly, the shapes of architectural members, such as capitals and tympana, determined the articulation of sculptural forms. This theory could account for the genesis of a wide array of monumental carvings, from foliate capitals to narrative reliefs, but ultimately it had a rather limited impact on the field of Romanesque sculptural studies. In a scathing critique, Schapiro argued that Baltrušaitis’s book—and by implication Focillon’s methods—robbed Romanesque sculptors of agency and neglected the religious and expressive meanings of this art form....

Article

Baqir  

[Bāqir; Muhammad Baqir; Muḥammad Bāqir]

(fl c. 1800–30).

Persian painter in enamels. All of his known work was made for the Qajar monarch Fath ‛Ali Shah (reg 1797–1834). Like ‛Ali, he signed his work with the title ghulām khānazād (‘slave born in the household’), signifying ‘artist in the royal service’. Baqir painted a fine gold bowl and cover, saucer and spoon, which is enamelled with astrological figures and a poetic dedication to Fath ‛Ali Shah (priv. col., see Robinson, 1991, fig.). Several other objects enamelled by Baqir, such as an oval snuff-box with a portrait of the seated King and a teapot with busts of Fath ‛Ali Shah and floral swags and a dedication to the King, are part of the Iranian crown jewels (Tehran, Bank Markazi, Crown Jewels Col.). His style is similar to that of ‛Ali and is notable for its delicate execution and brilliant colour (see Islamic art, §VIII, 3). Baqir is probably the Muhammad Baqir who, together with ...

Article

Briony Llewellyn

(b London, March 26, 1809; d at sea, off Malta, Sept 13, 1854).

English draughtsman , active also in the Near East, Continental Europe and North America. He was a prolific artist and an intrepid traveller. His work became widely known through numerous engravings after his drawings published in his own and other writers’ topographical books. His primary concern was to extract the picturesque aspects of a place and by means of established pictorial conventions to render ‘lively impressions of actual sights’, as he wrote in the preface to The Nile Boat (London, 1849).

During his apprenticeship to John Britton between 1822 and 1829, Bartlett travelled widely in Great Britain and contributed illustrations to several of his master’s antiquarian works. The popularity of travel books in the 1830s and early 1840s provided Bartlett with several commissions. He illustrated John Carne’s Syria, the Holy Land, Asia Minor &c (London, 1836–8), William Beattie’s Switzerland Illustrated (London, 1836) and The Waldenses (London, 1838), Julia Pardoe’s ...

Article

Marc Jordan

(b London, April 1, 1794; d Ely, Oct 16, 1845).

English architect. He was born into a wealthy and cultured family related to the Disraelis and the Ricardos, and he trained in John Soane’s office (1810–16), receiving what was then probably the best architectural education available in England, as in his watercolour of the staircase of Gower House, London (1813; London, Soane Mus.; see Chambers, william, fig.). In 1816 he began a tour of Italy and Greece, which was recorded in letters to his family (untraced; typescript London, Soane Mus.) and in drawings and sketches (London, Soane Mus.; see Jordan). After travelling via Paris to Turin, Florence, Rome, Venice and Vicenza, a meeting with C. R. Cockerell in Rome (1817) persuaded him to visit Greece; during 1818 he went via Naples to Thessaly, Constantinople and Athens, returning to Rome via Sicily.

In June 1819 Basevi was back in London at a moment when building activity was expanding after the depressed years immediately following the end of the Napoleonic Wars. His earliest commissions were minor alteration works for family friends or business acquaintances. In ...

Article

Çigdem Kafesçioglu and Walter B. Denny

In 

Article

Hafez K. Chehab

[Bayt al-dīn; (Qasr) Beit ed Din; Bteddin]

Palace on Mt Lebanon, south-east of Beirut. Built between 1804 and 1829 by the amir Bashir II Shihab, ruler of Mt Lebanon (reg 1788–1840), this stone palace is divided into three units: the Dar al-Barraniyya with an outer gate, large reception area and court; the Dar al-Wusta (1829) with reception and administrative areas; and the Dar al-Harim (1806) for the prince and his relatives. The marble gate of the Dar al-Harim is shaded by a two-storey iwan and the façade is shaded by a wooden porch. The three-storey quarters contain a formal reception hall decorated with marble panels in the Ottoman style and several apartments, courts and halls richly decorated with carved marble and painted wood. This luminous palace was surrounded by gardens irrigated by an aqueduct.

J. L. Burckhardt: Travels in Syria and the Holy Land (London, 1822), pp. 193–205H. O. Fleischer: ‘Über das syrische Fürstenhaus der Benu-Schihab’, ...

Article

Bazaar  

Mohammad Gharipour

Bazaar, which is rooted in Middle Persian wāzār and Armenian vačaṟ, has acquired three different meanings: the market as a whole, a market day, and the marketplace. The bazaar as a place is an assemblage of workshops and stores where various goods and services are offered.

Primitive forms of shops and trade centres existed in early civilizations in the Near East, such as Sialk, Tepe in Kashan, Çatal Hüyük, Jerico, and Susa. After the 4th millennium BC, the population grew and villages gradually joined together to shape new cities, resulting in trade even with the remote areas as well as the acceleration of the population in towns. The advancement of trade and accumulation of wealth necessitated the creation of trade centres. Trade, and consequently marketplaces, worked as the main driving force in connecting separate civilizations, while fostering a division of labour, the diffusion of technological innovations, methods of intercultural communication, political and economic management, and techniques of farming and industrial production....