The Art of The Book
Under the Safavids, the art of the book, especially the Persian miniature painting, constituted the essential driving force of the arts. The ketab khaneh, the royal library-workshop, provided most of the sources of motifs for objects such as carpets, ceramics or metal.
Various types of books were copied, illuminated, bound and sometimes illustrated: religious books – Korans, but also commentaries on the sacred text and theological works—and books of Persian literature – Shahnameh, Nizami's Khamsa, Jami al-Tawarikh by Rashid-al-Din Hamadani, Timur nāmeh—encyclopedias and scientific treatises of Sufism. Paper, a Chinese invention arriving early in Iran (13th century), was always used. One notes the frequent use of coloured papers. Towards 1540, a marbled paper also appeared, which however rapidly disappeared again.
The bindings were mostly accomplished with tinted maroquin of very fine quality. They could be gilded and stamped with geometric, floral or figurative motifs, or embossed in blue. In the second half of the 16th century, they pierced the leather covers to allow the coloured paper or silk pages to be seen. In the same period, at Shiraz, appeared lacquered bindings, which remain however very rare and highly valued in Iran.
The decoration of the margins was realised in various ways: sometimes they were inserted in a different paper, (a tradition that appeared in the 15th century); sprinkled with gold, following a Chinese custom; or painted with colours or gold.
The style of illustrations varied greatly from one manuscript to another, according to the period and centre of production.
Read more about this topic: Safavid Art
Famous quotes containing the words the art, art and/or book:
“The difference between Pound and Whitman is not between the democrat who in deep distress could look hopefully toward the future and the fascist madly in love with the past. It is that between the woodsman and the woodcarver. It is that between the mystic harking back to his vision and the artist whose first allegiance is to his craft, and so to the reality it presents.”
—Babette Deutsch (1895–1982)
“... one of art photography’s most vigorous enterprises—[is] concentrating on victims, on the unfortunate—but without the compassionate purpose that such a project is expected to serve.”
—Susan Sontag (b. 1933)
“A great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it.”
—William Styron (b. 1925)