1-20 of 3,225 results  for:

Clear all

Article

Abaneri  

Walter Smith

[anc. Abhānagari]

Temple site in north-eastern Rajasthan, India. It contains the fragmentary remains of two major monuments of the 8th century ad. The Chand Baori, a stepped ritual bathing tank c. 19 m deep, was probably built by Raja Chandra, from whom its name derives; an enclosing verandah dates to the 17th century. Although the Harshatmata Temple also dates to the 8th century, or early 9th, according to some scholars, a modern temple has been built over the original foundations, which include a broad platform and the lower walls of the original monument. A remarkable sequence of sculptures, showing primarily secular scenes, survives. These include kings with courtiers, musicians and couples (see Indian subcontinent, fig.). The figural scenes are framed by pilasters carved with floral motifs and capped by elaborate interlaced pediments employing the gavākṣa (Skt: ‘cow’s-eye’) motif.

The sculpture of Abaneri extensively illustrates a phase of sculptural development midway between the Gupta style of the Mathura region and the abstracted linearized style adopted in northern India from the 10th century. Its style, often referred to as naturalistic, renders the figure with an energetic elasticity conveying both potential and actual movement. The profuse details, including facial expressions and gestures, are carved with great delicacy, and the high relief utilizes deep undercutting. Several of the ancient sculptures have been embedded into the walls of the modern temple, and numerous fragments—possibly from other temples no longer extant—lie about the site. Other pieces, including images of deities such as Ganesha, Durga and Gaja-Lakshmi and scenes from the life of Krishna, have been removed to the Archaeological Museum in Amer....

Article

R. Siva Kumar

In 

Article

Abarquh  

[Abarqūh]

Iranian town in northern Fars province. A prosperous centre in medieval times, by the 10th century it was fortified with a citadel and had a congregational mosque. The octagonal tower of mortared stone known as the Gunbad-i ‛Ali was erected, according to its inscription, by a Daylamite prince in 1056–7 to contain the remains of his parents. The Masjid-i Birun, a mosque to the south of the town, may be slightly earlier, although it has many later additions. The congregational mosque (rest.), with four iwans around a rectangular court, dates mostly to the 14th century, although the base of the dome chamber probably belongs to the 12th-century mosque. The many mihrabs within the mosque include a particularly fine stucco example (1338). There are also several mud-brick tombs in the town. These square structures have plain exteriors and plastered and painted interiors. One of the earliest is the tomb of Pir Hamza Sabzpush (12th century); the finest was that of Hasan ibn Kay Khusraw (...

Article

Article

Eleanor Sims

[Shaykh ‛Abbāsī]

(fl 1650–84).

Persian painter. He was one of a small group of artists working in Iran in the second half of the 17th century who painted in an eclectic manner that drew on European images and Mughal Indian styles (see Islamic art, §III, 4(vi)(a)). He appears to have been the earliest of this group, which included Muhammad Zaman and ‛Aliquli Jabbadar, to integrate these ‘exotic’ elements into his work. He invariably inscribed his work with the punning Persian phrase Bahā girift chū gardīd Shaykh ‛Abbāsī (‘It [He] acquired worth when he became Shaykh ‛Abbasi’). The honorific it contains (‛Abbasi; also a type of coin, whence the pun) suggests that he was in the service of Shah ‛Abbas II (reg 1642–66). He also signed paintings during the reign of Shah Sulayman (reg 1666–94).

Shaykh ‛Abbasi illustrated manuscripts and painted miniatures on single leaves of paper and, almost certainly, on lacquered papier-mâché objects, such as penboxes and mirror cases. More than 15 of his known paintings are signed, 8 in one manuscript (Baltimore, MD, Walters A. Mus., MS. W.668), and 25 can be attributed to him. His subjects include portraits of Safavid and Mughal rulers and of the Virgin and Child copied from European prints. His style is unmistakable, combining sure draughtsmanship with pale, transparent colour washes. Unlike Muhammad Zaman, he had a minimal interest in illusionism, restricting himself to darkening the edges of trees and buildings along one side (usually the right). His figures, especially heads and faces, are Indian in appearance as well as in the stippled manner in which they are drawn. His later pictures seem more Indian than his earlier work; Zebrowski proposed a connection with Golconda painting (...

Article

Abbasid  

Robert Hillenbrand

[‛Abbasid]

Islamic dynasty that ruled from several capitals in Iraq between ad 749 and 1258. The Abbasids traced their descent from al-‛Abbas, the uncle of the Prophet Muhammad, and were thus able to claim a legitimacy that their predecessors had lacked (see Umayyad, §1). The Abbasids rose to power in north-east Iran by channelling disaffection with Umayyad rule, but they soon established their capitals in a more central location, founding Baghdad in 762. Although they initially encouraged the support of Shi‛ites, the Abbasids quickly distanced themselves from their erstwhile allies to become champions of orthodoxy. Upon accession, each caliph adopted an honorific title, somewhat like a regnal name, by which he was later known. For the first two centuries, the Abbasids’ power was pre-eminent, and their names were invoked from the Atlantic to western Central Asia. From the middle of the 10th century, however, real power was transferred to a succession of Persian and Turkish dynasts (...

Article

Sarah Urist Green

(b Kabul, June 5, 1973).

Afghan video and performance artist and photographer, active also in the USA. After fleeing Soviet-occupied Kabul with her family in the late 1980s, Abdul lived as a refugee in Germany and India before moving to Southern California. She received a BA in Political Science and Philosophy at California State University, Fullerton, and an MFA at the University of California, Irvine, in 2000. Abdul first returned to a post-Taliban Afghanistan in 2001, where she encountered a place and people transformed by decades of violence and unrest. Since that time, Abdul has made work in Kabul and Los Angeles, staging herself in performances and creating performance-based video works and photography that explore ideas of home and the interconnection between architecture and identity.

Beginning in the late 1990s, Abdul made emotionally intense performance art informed by that of Yugoslavian artist Marina Abramović and Cuban-born American artist Ana Mendieta. At the time unable to travel to Afghanistan, Abdul created and documented performances in Los Angeles that probed her position as Afghan, female, Muslim, a refugee and a transnational artist. In ...

Article

Çigdem Kafesçioglu and Walter B. Denny

In 

Article

Jonathan M. Bloom

revised by Sheila S. Blair

(b Kishorganj, East Pakistan [now Bangladesh], Nov 18, 1914; d Dhaka, May 28, 1976).

Bangladeshi painter and printmaker. He studied painting at the Government School of Art in Calcutta from 1933 to 1938, and then taught there until 1947. His work first attracted public attention in 1943 when he produced a powerful series of drawings of the Bengal famine. After the partition of India and Pakistan in 1947 he worked as chief designer in the Pakistan government’s Information and Publications Division, and also became principal of the Institute of Fine Arts in Dhaka (later known as the Bangladesh College of Arts and Crafts), which he helped to found in 1948 and where he remained until 1967. From 1951 to 1952 he visited Europe and, in addition to exhibiting his work at several locations, worked at the Slade School of Art in London, and represented Pakistan at the UNESCO art conference in Venice in 1952. An exhibition of his work in Lahore in 1953 became the starting-point for a series of ...

Article

‛Abid  

Jeffrey A. Hughes

[‛Ābid]

(fl c. 1615–58).

Indian miniature painter, son of Aqa Riza and brother of Abu’l-Hasan. Both his father and his brother worked for the Mughal emperor Jahangir (reg 1605–27). Although ‛Abid probably began working in the royal atelier c. 1615, all of his known signed works are datable to the reign of Shah Jahan (reg 1628–58). His style varied somewhat from that of his celebrated older brother, but ‛Abid’s work also stayed within the strict formalism of the Persian-derived courtly concerns for symmetry, technical perfection and minute detail. Within these constraints, ‛Abid’s portraits of court figures are injected with an animation that creates characterization of individual personalities and intensifies the narrative. ‛Abid was an accomplished colourist, whose vivid use of colour seems to contrast with the realism of his subjects, primarily battle and court scenes. His known paintings are relatively few; most are from the Padshāhnāma of c. 1636–58 (Windsor Castle, Royal Lib., MS. HB.149, fols 94...

Article

Absalon  

John-Paul Stonard

[Eshel, Meir]

(b Tel Aviv, Dec 26, 1964; d Paris, Oct 10, 1993).

Israeli sculptor. He adopted the name Absalon on his arrival in Paris in the late 1980s. During his short career he achieved widespread recognition for the 1:1 scale architectural models that he constructed of idealized living units. These wooden models, painted white, demonstrate an obsession with order, arrangement and containment, and have associations both of protective shelters and monastic cells. They were designed to be placed in several cities and to function as living-pods for the artist as he travelled. Exhibiting a series of six ‘cellules’ in Paris in 1993, he described how they were fitted both to his body and to his mental space, but were also able to condition the movements of his body in line with their idealized architecture. Although he denied their apparent utopianism, the sculptures can be viewed as the reduction of the utopian aims of early modern architecture (as seen in the work of the Constructivists, de Stijl and Le Corbusier) to the level of individual subjectivity. This suggests both the failure of architectural social engineering and its inevitable basis in subjective, anti-social vision. Absalon’s habitational units also have an element of protest. In an interview for the ...

Article

Sheila S. Blair

[Abu Ṭāhir]

Persian family of potters. The family is sometimes known, somewhat improperly, by the epithet Kashani [al-Kashani, Qashani], which refers to their home town, Kashan. It was a major centre for the production of lustre pottery in medieval Iran, and they were among the leading potters there, working in both the Monumental and the Miniature styles (see Islamic art, §V, 3(iii)). As well as the lustre tiles for many Shi‛ite shrines at Qum, Mashhad, Najaf and elsewhere, they made enamelled and lustred vessels. Three other families of Persian lustre potters are known, but none had such a long period of production. At least four generations of the Abu Tahir family are known from signatures on vessels and tiles, including dados, large mihrabs and grave covers. The family may be traced to Abu Tahir ibn Abi Husayn, who signed an enamelled bowl (Cairo, Mus. Islam. A.). A lustre bowl in the Monumental style (London, N.D. Khalili priv. col.), signed by ...

Article

J. P. Losty

(b 1588; fl 1600–30).

Indian painter.

In 1618 the Mughal emperor Jahangir (reg 1605–27) wrote in his memoirs that Abu’l-Hasan’s ‘work was perfect…At the present time he has no rival or equal… Truly he has become Nadir al-Zaman (“Wonder of the age”)’. Some of this artist’s paintings are among the greatest in Mughal art. He was born in Jahangir’s household in 1588, the son of the erstwhile Safavid artist Aqa Riza. Abu’l-Hasan’s earliest known work, a drawing based on Albrecht Dürer’s St John and executed when he was only 12 (Oxford, Ashmolean), already shows in its naturalism the trend of his mature work. A single painting in a manuscript of the fable-book Anvār-i Suhaylī (‘Lights of Canopus’), probably done in 1604 (London, BL, Add. MS. 18579), develops the naturalism of his portraiture but still contains a Safavid landscape based on his father’s work; his sense of respect for the latter is indicated by his signing himself here ‘the dust of Riza’s threshold’. He maintained throughout his career the meticulous finish of the Safavid style (...

Article

Article

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

Article

Nimet Özgüç

Site in central Turkey that flourished in the first half of the 2nd millennium bc, in a fertile plain watered by the River Karasu. The oval mound of Acemhöyük, measuring 700×600 m, and 20 m high, rises in the centre of the town of Yeşilova, 18 km north-west of Aksaray; it was surrounded by a lower city 600 m wide, now covered by the modern town. Acemhöyük was thus the largest ancient settlement in this agricultural region, and excavations were begun in 1962 by a Turkish team led by Nimet Özgüç. Some of the objects from the excavations are in the Museum of Anatolian Civilizations, Ankara; most are in the archaeological museums at Niḡde and Aksaray; and a fine collection of ivories from the site is in the Metropolitan Museum of Art, New York.

Occupation of the mound began at least as early as 3000 bc and the surviving architectural remains and artefacts from the Early Bronze Age settlements (levels IX–VI) testify to the existence of a distinctive local culture that nevertheless maintained close links with contemporary settlements in central Anatolia and Cilicia. The lower town was first occupied in ...

Article

Howard Crane

[Esir; ‛Alā’ al-Dīn ‛Alī ibn ‛Abd al-Karīm]

(b ?Tabriz; d Istanbul, c. 1537).

Ottoman architect. His epithets, acemi (Persian) and esir (prisoner), suggest that he was captured in the 1514 campaign against the Safavids of Iran by the Ottoman sultan Selim I (reg 1512–20). He served as chief imperial architect from at least September 1525 until March 1537. Works attributed to him include the mosque of Çoban Mustafa Pasha (1515) in Eskişehir, the complex of Çoban Mustafa Pasha in Gebze (1519–25) and the mosque and tomb of Selim I in Istanbul (1523). He also founded the Mimar Mosque and dervish hostel (Turk. zaviye), near the Mevlevihane Yeni Kapı in Şehremini, Istanbul, where he is buried. His style is marked by sound engineering and extreme eclecticism. The complex in Gebze, for example, was decorated with marble panelling in the style of Mamluk buildings in Egypt, while the mosque of Selim is a direct quotation of the mosque of Bayezid II in ...

Article

Margaret Cool Root

Name given to a people of Persian origin, who founded an empire that flourished c. 550–331 bc.

The Achaemenid Persian empire was founded c. 550 bc by Cyrus the Great. At its greatest extent under Darius the Great (reg 522–486 bc), it stretched from the Indus into northern Greece and across Egypt. The Macedonian Alexander the Great (reg 336–323 bc) was able to defeat the Achaemenids in 331 bc only after prolonged military campaigns.

This vast Persian hegemony was rich in legacies of administrative expertise and cultural heritage. Its dynastic name was derived from an 8th-century bc ancestor who ruled as a Persian vassal of the Iranian kingdom of the Medes, who were to inherit great power by conquering the Assyrians in the late 7th century bc. Both the Median overlords and Persian vassals enjoyed access to the Mesopotamian/Iranian artistic heritage. Annals of the Assyrian kings describe the Medes and the Persians living in fortified cities as early as the ...