Islamic Chinoiserie: The Art of Mongol Iran

Islamic Chinoiserie: The Art of Mongol Iran

Islamic Chinoiserie: The Art of Mongol Iran

Islamic Chinoiserie: The Art of Mongol Iran

Synopsis

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 were encouraged on a large scale under the auspices of the Pax Mongolica. 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.

Highly illustrated, Islamic Chinoiserie offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols. 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. The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages.

Excerpt

Edinburgh Studies in Islamic Art is a new venture that offers readers easy access to the most up-to-date research across the whole range of Islamic art. Building on the long and distinguished tradition of Edinburgh University Press in publishing books on the Islamic world, it is intended to be a forum for studies that, while closely focused, also open wide horizons. Books in the series will, for example, concentrate in an accessible way on the art of a single century, dynasty or geographical area; on the meaning of works of art; on a given medium in a restricted time frame; or on analyses of key works in their wider contexts. A balance will be maintained as far as possible between successive titles, so that various parts of the Islamic world and various media and approaches are represented.

Books in the series are academic monographs of intellectual distinction that mark a significant advance in the field. While they are naturally aimed at an advanced and graduate academic audience, a complementary target readership is the worldwide community of specialists in Islamic art – professionals who work in universities, research institutes, auction houses and museums – as well as that elusive character, the interested general reader.

Professor Robert Hillenbrand . . .

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