{[Islamic Art –] Visual Arts [continued –] Late arts of the book (1) [continued (4)]}[21st April 1991]

[Redbook9:169][19910421:1410pp]{[Islamic Art –] Visual Arts [continued –] Late arts of the book (1) [continued (4)]}[21st April 1991]

19910421:1410

[continued]

‘Yaqub was a major patron and under him the style of miniature art became increasingly exuberant and colorful, trees and plants forming a tapestry-like ensemble for the richly dressed figures of his court.

‘This style, though originally based upon the Herat school, contrasted with the contemporary work in Herat where Sultan Husayn Bayqara, the last Timurid ruler of note, presided for 35 years, until 1506[ce],* over a court at which the arts of the book reached their peak.** The calligrapher Sultan Ali Mashadi and the painters Mirak and Bihzad shone in the circle dominated by the poet and mystic Jami#** (1414-92[ce]) who composed biographies of the Sufi saints and a collection of stories about them in the Baharistan*** or Spring Land,*** the Haft Aurang of seven poems with allegorical meaning, as well as lyrical poems (ghazals).*** His dominance does not mean that the earlier poets Sa‘di, Nizami, or Amir Khusran were neglected and indeed and indeed the best attested work Bihzad illustrates these poets. It follows that the central point of the work of his school was man [sic]; **** but men in quiet relation to one another rather than in action. Architecture too plays its part as a support for the brilliant blue-dominated harmony,# conveying an ideal picture of life.’

#*

*2048G~1536[ce]

**cf [[Redbook9:134][19910420:0953i]{Art Cycles (2 [continued])}[20th April 1991],] 134,

[[Redbook9:175-179][19910421:1410aaa]{[Islamic Art –] Late Arts}[21st April 1991],] 175

***[Italics per text source]

****m~?

#m~

#*– ibid [Encyclopaedia of Visual Arts 3:] 453-454

#**[[Redbook9:113][19910415:0840]{[Islamic Art –] The Word (2) [continued (19)]}[15th April 1991];

[[Redbook9:177][19910421:1410eee]{[Islamic Art –] Late Arts [continued (5)]}[21st April 1991]]

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