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‘… One can distinguish the following large cultural entities within Islamic art: Ottoman, Western Islamic, Egypt and Fertile Crescent, Iran, India. They were all distinctive by the early 14^th century [ce].’*

**

*2048J~1280[ce]

** – ibid [Encyclopaedia Britannica 22:99]

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‘…Very soon after the formation * of Islamic culture (certainly by ** 1000[ce]), it seems clear that the nature of aesthetic impulses and of visual expectations began to vary. The question is one of determining what may be called the break-off points: the areas, moments, or forces that led to differentiations. One such point is is the early 14^th century,*** for almost everywhere in Islam artistic functions, forms and techniques were renewed.**** And it is quite easy to separate the arts that followed the turn of the century from those that preceded it.’

#

*(Birth of Muhammed c[irca]570ce)

**2048M~512[ce]|U~768~[ce]|A~1024[ce]

***2048J~1280[ce]

****cf VIII: [[Redbook8:314][19910307:1718]{Gothic Art}[7th March 1991],] 314,

[[Redbook8:323][19910314:1020d][Gothic Art (2)(continued (10)):][Gothic into Renaissance][14th March 1991],] 323

(Romanesque → Gothic

12thC[entury]-Mid13thC[entury])

{cf [[Redbook9:138-139][19910420:0953s]{[Islamic Art –] Visual Arts [continued –] Middle Period of Islamic Art (continued) [continued (4)]}[20th April 1991]&ant,] 138}

# – ibid [Encyclopaedia Britannica 22:99]

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‘During the period of [European]* occupation it was questioned whether alien techniques necessarily brought with them new forms. This mood was clearly expressed in literature but less so in the visual arts, **|since the quality of Muslim art had deteriorated so much in the decades preceding*** European arrival that there was no longer a lively creative force to maintain.|** As various schools based on the École des Beaux-Arts in Paris were formed, however, the faculties and the students suffered from constant uncertainty as to whether they should preserve an art that was mostly artisanal or revolutionise it altogether.’

#

*[Square brackets per ms]

**||** NB. Why?

***{[Underlined in hatched red]}

****{(cf [[Redbook9:116][19910415:0840j]{[Islamic Art –] The Word (2) [continued (27)]}[15th April 1991],] 116}

{U~}

# – ibid [Encyclopaedia Britannica 22:] 99

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‘Mughal portraiture* gave more of a sense of the individual than did the portraiture of the Safavids. As in a celebrated representation of a dying courtier in the Boston Museum of Fine Arts, Mughal drawings could be poignantly naturalistic. Mood was important to the Mughal artists – in many paintings of animals there is a playful mood; a sensuous mood is evident in the first Muslim images to glorify the female body and the erotic.’

**

*which ‘was intimately connected to the indigenous Hindu traditions of the Indian sub-continent...’

– ibid [Encyclopaedia Britannica 22:98]

** – ibid [Encyclopaedia Britannica 22:98]

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‘Three major painting styles, or schools (excluding a number of interesting provincial schools), existed in the Safavid period. … [In]* one school of miniature painting...** [the]* compositions are complex, individual faces appear in crowded masses, there is much diversification in landscape, and, despite a few ferocious details of monsters or of strongly caricaturized poses and expressions, these book illustrations are concerned with an idealised version of life.... [Artists]* continued and modified, each in his own way, the ideal of a balance *** between an overall composition and precise rendering details.

‘The miniatures of the second tradition of Safavid painting seem at first to be like a detail out of the previously discussed school. The same purity of colour, elegance of poses, interest in details, and assertion of the individual figure is found. Aqa Reza and Reza Abasi (both active around 1600[ce]) excelled in these extraordinary portrayals of poets, musicians, courtiers and aristocratic life in general.

‘In both traditions of painting, the beautiful personages depicted frequently are satirised;# this note of satirical criticism is even more pronounced in portraiture of the time. But it is in pen or brush drawings, mostly dating from the 17^th century, that the third aspect of Safavid painting appeared: an interest in genre, or the depiction of minor events of daily life (e.g., a washerwoman at work, a tailor sewing, an animal). #*|With stunning precision Safavid artists showed a whole society falling apart with a cruel #** sympathy totally absent from the literary documents of the time.’|#*

#**

*[Square brackets per ms]

**(‘large colourful miniatures all … executed in a grand manner’)

– ibid [Encyclopaedia Britannica 22:] 98

*** cf [[Redbook9:98][19910414:1104d]{Islamic Art – The Word (1) [continued (4)]}[14th April 1991]&f] 98-99

****{2048G~1536[ce]}

#(sic)

#*||#*{[Marginal emphasis]}

#**[sic]

#*** – ibid [Encyclopaedia Britannica 22:] 98

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‘In the 16^th and 17^th centuries [ce],* possibly for the first time in Islamic art, painters were conscious ** of historical styles – even self-conscious. *** Miniatures from the past were collected, copied, and imitated. Patronage, however, was fickle. A royal whim would gather painters together or exile them. Many names of painters have been preserved, and there is little doubt that the whim of patrons was being countered by the artists’ will to be socially and economically independent **** as well as individually recognised for their artistic talents. Too many different impulses, therefore, existed in Safavid Iran for painting to follow any clear line of development.’

#

*{2048G~1536|G~R~1664[ce]}

**{G~ff – Recall}

[But if this was at M~, would I be characterising it as unoriginal imitation? The European Renaissance was considered to be the rediscovery and ‘rebirth’ of classical art, but developed, and developed into, completely fresh artistic approaches.]

***2048G~1536[ce]

[sic]

****2048G~1536[ce]

# – ibid [Encyclopaedia Britannica 22:97]

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‘… This is the time when Shiism became a state religion and for the first time in Islam there appeared an organised ecclesiastical system rather than the more or less loose spiritual and practical leadership of old.’

*

* – ibid [Encyclopaedia Britannica 22:97]

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‘(Safavid art)

The Safavid dynasty was founded by Esmail I (1501-24[ce]). The art of this dynasty reached its zenith during the reigns of Tahmasp (1524-76[ce]) and of Abbas I (1588-1629[ce]). This phase of the Safavid period also marked the last significant development of Islamic art in Iran, for after the middle of the 17^th century [ce] original creativity disappeared in all mediums. Rugs and objects in silver, gold and enamel continued to be made and exhibited a considerable technical virtuosity, even when they were lacking in inventiveness.’

*

* – ibid [Encyclopaedia Britannica 22:97]

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*

‘The sources of the Turkish Baroque are probably to be sought in the Baroque architecture of Vienna and the bordering Austro-Hungarian states. Throughout the 18^th and 19^th centuries, a consistent Europeanization of a local tradition occurs in the Ottoman Empire.’

**

*[Source text continues from last previous ts journal entry]

**– ibid [Encyclopaedia Britannica 22:] 97

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*

**

***

[Ground plan of the Selim Mosque at Edime (formerly Adrianople), Turkey]****

**

*[Marginal note:]

↑cf [[Redbook9:99][19910414:1104e]{Islamic Art – The Word (1) [continued (5)]}[14th April 1991],] 98-99

**– ibid [Encyclopaedia Britannica 22:] 96

[immediately following (& including final part of) source text in previous ts journal entry]

[Two photographs, of the exterior and main interior of the Selim Mosque at Edime respectively, from the same source text are reproduced in the ms but are not included in the ts. Many photographs are available on the Internet.]

***[Source text continues in next ts journal entry]{→}

****[attributed in the source text to G. Goodwin, A History of Ottoman Architecture. John Hopkins University Press]

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‘The grand tradition of Ottoman architecture, established in the 16^th century, was derived from two main sources.

One was the rather complex development of new architectural forms that occurred all over Anatolia, esoecially at Manisa, Iznik, Bursa and Selcuk in the 14^th and early 15^th centuries.* In addition to the usual mosques, mausoleums, and madrasahs, a number of buildings called tekkes were constructed to house dervishes (members of mystical fraternities) and other holy men who lived communally. The tekke (or zeviye) was often joined to a mosque or mausoleum. The entire complex was often called a kulliye. All these buildings continued to develop the domed, central-plan structure, constructed by the Seljuqs in Anatolia.

The other source of Ottoman architecture is Christian art. The Byzantine tradition, especially as embodied in Hagia Sophia, became a major source of inspiration. Byzantine influence appears in such features as stone and brick used together or in the use of pendentive dome construction. Also artistically influential were the contacts that the early Ottomans had with Italy. Thus, in several mosques at Bursa, Tur, there are stylistic parallels in the designs of the exterior facade and of windows, gates and roofs to features found in Italian architecture. A distinctive feature of Ottoman architecture is that it draws from both Islamic and European artistic traditions and was, therefore, a part of both.’

**

*{2048J~1280|J~G~1408[ce]}

**– ibid [Encyclopaedia Britannica 22:] 95-96

[Paragraph breaks per ts]

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[continued]

*

**

*[(Red) ms marginal notes in order:

{2048J~1280[ce]}

{2048J~G~1408[ce]}

{M~-G~??}

{2048G~1536}]

**– ibid [Encyclopaedia Britannica 22:] 94-95

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[continued]

(Mongol Iran – Il-Khanid & Timurid periods:)

(c[irca] 1295-[c[irca]1500[ce]])*

‘In the Timurid period the use of colour in architecture reached a high point. Every architectural unit was divided, on both the exterior and the interior, into panels of brilliantly coloured tiles** that sometimes were mixed with stucco or terra-cotta architectural decorations.’

***

*{2048J~1280|G~1536}

**{cf 13th C[entury] Europe – heavily coloured stained glass – eg Chartres, ref VIII [[Redbook8:325-326][19910314:1020g][Gothic Art (2)(continued (13)):] Early Gothic Architecture [14th March 1991],] 326}

***[– ibid (Encyclopaedia Britannica 22:) 94]

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