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Armenian illuminated manuscripts form a separate tradition, related to other forms of Medieval Armenian art, but also to the Byzantine tradition. The earliest surviving examples date from the Golden Age of Armenian art and literature in the 5th century.<br/><br/> Early Armenian Illuminated manuscripts are remarkable for their festive designs to the Armenian culture. The greatest Armenian miniaturist, Toros Roslin, lived in the 13th century.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Mesrop of Khizan was a prominent Armenian manuscript illuminator in Persia. Mesrop was born in the Ottoman Empire but eventually lived in Isfahan, Persia, where he contributed in the making of manuscripts for bibles and gospels for four decades.<br/><br/> He was also a scribe, clerk, teacher, doctor of theology, restorer and binder.
Siāh-qalam, lit. ‘black pen’, is a term referring to both the genre of paintings or drawings done in pen and ink (also known as qalam-siāhi), and to the painter or, more likely, painters (more commonly known as Siāh-qalam) of a particular collection of such pen and ink drawings, preserved principally in the albums at Topkapi Saray Library.<br/><br/> Qalam-siāhi: While medieval Iranian artists were more renowned for their painting than their drawing skills, the two mediums were not unrelated. The planning of any painting involved laying down a preliminary drawing in red or black ink, which would later be painted over.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Xavier Pascal Coste (26 November 1787, Marseille - 8 February 1879) was a French architect. His father was one of the leading joiners in Marseille. Showing intellectual and artistic promise, Pascal began his studies in the studio of Penchaud, architect of the département and the municipalité. In 1814, he was received into the École des Beaux-Arts in Paris. His time in Paris was a pivotal one in his life - there he met the geographer Edme François Jomard, who put him in touch with the viceroy of Egypt, Mehmet Ali, who took Coste on as his architect in 1817.<br/><br/> In 1825 Coste returned to France with an impressive series of drawings of the architecture of Cairo, but he soon went to Egypt once again at Mehmet Ali's request, where Mehmet Ali made him chief engineer for Lower Egypt. Coste remained there for four years, during which time he accumulated many sketches, but he found the Egyptian climate difficult and returned to France in 1829. There he became a professor of architecture at the École des Beaux-Arts in Paris, thanks to the links he had kept up with Penchaud. He remained in this post until 1861, when he was one of the founder members of the intellectual centre known as the Athénée.<br/><br/> In parallel with these activities he travelled around France and to Germany, Belgium and Tunisia and produced several authoritative works on architecture - his Architecture arabe (1827) earned him a place on the French king's embassy to the Shah of Iran. In Iran Coste and the painter Eugène Flandin were authorised to visit the ruins of Ecbatana, Bishtun, Taq-e Bostan, Sarpol-e Zahab, Pasargadae and Persepolis, where he made many sketches. On his return via Baghdad, he saw the ruins of Seleucia, Ctesiphon and Babylon. He continued via Nineveh, to which the archaeologist Paul Émile Botta was also travelling to begin his excavations.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
Isfahan was a medieval waystation on the Silk Road until the 16th century when Shah Abbas the Great (1587–1629) conquered it and made it the new capital of the Safavid dynasty under a unified Persia. He built parks, libraries, baths and mosques, and Isfahan became one of the largest cities in the world. In 1722, following the defeat of the Safavids in the Battle of Gulnabad, Afghans raided Isfahan after a long siege, which left much of the city in ruins. Nowadays, it is the second city of Iran, and produces fine carpets, textiles, steel and handicrafts. The city’s Naghsh-e Jahan Square was designated as a World Heritage Site by UNESCO, and is regarded and an outstanding example of Iranian and Islamic architecture.
Xavier Pascal Coste (26 November 1787, Marseille - 8 February 1879) was a French architect. His father was one of the leading joiners in Marseille. Showing intellectual and artistic promise, Pascal began his studies in the studio of Penchaud, architect of the département and the municipalité. In 1814, he was received into the École des Beaux-Arts in Paris. His time in Paris was a pivotal one in his life - there he met the geographer Edme François Jomard, who put him in touch with the viceroy of Egypt, Mehmet Ali, who took Coste on as his architect in 1817.<br/><br/> In 1825 Coste returned to France with an impressive series of drawings of the architecture of Cairo, but he soon went to Egypt once again at Mehmet Ali's request, where Mehmet Ali made him chief engineer for Lower Egypt. Coste remained there for four years, during which time he accumulated many sketches, but he found the Egyptian climate difficult and returned to France in 1829. There he became a professor of architecture at the École des Beaux-Arts in Paris, thanks to the links he had kept up with Penchaud. He remained in this post until 1861, when he was one of the founder members of the intellectual centre known as the Athénée.<br/><br/> In parallel with these activities he travelled around France and to Germany, Belgium and Tunisia and produced several authoritative works on architecture - his Architecture arabe (1827) earned him a place on the French king's embassy to the Shah of Iran. In Iran Coste and the painter Eugène Flandin were authorised to visit the ruins of Ecbatana, Bishtun, Taq-e Bostan, Sarpol-e Zahab, Pasargadae and Persepolis, where he made many sketches. On his return via Baghdad, he saw the ruins of Seleucia, Ctesiphon and Babylon. He continued via Nineveh, to which the archaeologist Paul Émile Botta was also travelling to begin his excavations.
The Safavids were one of the most significant ruling dynasties of Persia and established the Twelver school of Shi'a Islam as the official religion of their empire, marking one of the most important turning points in the history of Islam. This Shia dynasty was of mixed ancestry: Kurdish, Azerbaijani, Georgian and Greek, and ruled Iran from 1501 to 1722.
‘The Book of Medicinal Herbs’ or ‘Kitab al-Hasha’ish’, is a 10th-century Arabic manuscript containing nearly 500 illustrations and texts relating to botanical plants and their healing properties. It was probably based on the ancient ‘Materia Medica’, published by Greek physician Dioscorides in the 1st century CE. This 17th-century version is a Persian translation of the original written in the 10th century by Ishaq ibn Hunayn.
Xavier Pascal Coste (26 November 1787, Marseille - 8 February 1879) was a French architect. His father was one of the leading joiners in Marseille. Showing intellectual and artistic promise, Pascal began his studies in the studio of Penchaud, architect of the département and the municipalité. In 1814, he was received into the École des Beaux-Arts in Paris. His time in Paris was a pivotal one in his life - there he met the geographer Edme François Jomard, who put him in touch with the viceroy of Egypt, Mehmet Ali, who took Coste on as his architect in 1817.<br/><br/> In 1825 Coste returned to France with an impressive series of drawings of the architecture of Cairo, but he soon went to Egypt once again at Mehmet Ali's request, where Mehmet Ali made him chief engineer for Lower Egypt. Coste remained there for four years, during which time he accumulated many sketches, but he found the Egyptian climate difficult and returned to France in 1829. There he became a professor of architecture at the École des Beaux-Arts in Paris, thanks to the links he had kept up with Penchaud. He remained in this post until 1861, when he was one of the founder members of the intellectual centre known as the Athénée.<br/><br/> In parallel with these activities he travelled around France and to Germany, Belgium and Tunisia and produced several authoritative works on architecture - his Architecture arabe (1827) earned him a place on the French king's embassy to the Shah of Iran. In Iran Coste and the painter Eugène Flandin were authorised to visit the ruins of Ecbatana, Bishtun, Taq-e Bostan, Sarpol-e Zahab, Pasargadae and Persepolis, where he made many sketches. On his return via Baghdad, he saw the ruins of Seleucia, Ctesiphon and Babylon. He continued via Nineveh, to which the archaeologist Paul Émile Botta was also travelling to begin his excavations.
Xavier Pascal Coste (26 November 1787, Marseille - 8 February 1879) was a French architect. His father was one of the leading joiners in Marseille. Showing intellectual and artistic promise, Pascal began his studies in the studio of Penchaud, architect of the département and the municipalité. In 1814, he was received into the École des Beaux-Arts in Paris. His time in Paris was a pivotal one in his life - there he met the geographer Edme François Jomard, who put him in touch with the viceroy of Egypt, Mehmet Ali, who took Coste on as his architect in 1817.<br/><br/> In 1825 Coste returned to France with an impressive series of drawings of the architecture of Cairo, but he soon went to Egypt once again at Mehmet Ali's request, where Mehmet Ali made him chief engineer for Lower Egypt. Coste remained there for four years, during which time he accumulated many sketches, but he found the Egyptian climate difficult and returned to France in 1829. There he became a professor of architecture at the École des Beaux-Arts in Paris, thanks to the links he had kept up with Penchaud. He remained in this post until 1861, when he was one of the founder members of the intellectual centre known as the Athénée.<br/><br/> In parallel with these activities he travelled around France and to Germany, Belgium and Tunisia and produced several authoritative works on architecture - his Architecture arabe (1827) earned him a place on the French king's embassy to the Shah of Iran. In Iran Coste and the painter Eugène Flandin were authorised to visit the ruins of Ecbatana, Bishtun, Taq-e Bostan, Sarpol-e Zahab, Pasargadae and Persepolis, where he made many sketches. On his return via Baghdad, he saw the ruins of Seleucia, Ctesiphon and Babylon. He continued via Nineveh, to which the archaeologist Paul Émile Botta was also travelling to begin his excavations.
Muhammad Qasim Musavvir, one of the famous artists of the Isfahan School, was born in Tabriz circa 1575, and died in 1659. Although his style is quite individual, it has something of the manner of Riza Abbasi, head of the painters' workshop of Shah Abbas I between 1603 and 1605, and from 1615 until his death in 1635.<br/><br/> Muhammad Qasim was responsible for a number of paintings for albums, portraits of dervishes, young women, cup bearers and princes. He also illustrated a copy of Firdawsi's Book of Kings dated 1648, now at Windsor Castle, and also a copy of Navai's Suz va Gudaz at the Chester Beatty Library in Dublin.<br/><br/> The artist has a particular way of depicting knotty trees that borrows from both Chinese and European models. He also painted a number of female nudes. A skilled portraitist, he attached much importance to expression, sometimes to the point of caricature.