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Persian Pottery in the First Global Age: The Sixteenth and Seventeenth Centuries [Kietas viršelis]

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  • Formatas: Hardback, 504 pages, aukštis x plotis: 260x193 mm, weight: 1784 g
  • Serija: Arts and Archaeology of the Islamic World 1
  • Išleidimo metai: 13-Dec-2013
  • Leidėjas: Brill
  • ISBN-10: 9004260854
  • ISBN-13: 9789004260856
Kitos knygos pagal šią temą:
Persian Pottery in the First Global Age: The Sixteenth and Seventeenth CenturiesDidesnis paveikslėlis
  • Formatas: Hardback, 504 pages, aukštis x plotis: 260x193 mm, weight: 1784 g
  • Serija: Arts and Archaeology of the Islamic World 1
  • Išleidimo metai: 13-Dec-2013
  • Leidėjas: Brill
  • ISBN-10: 9004260854
  • ISBN-13: 9789004260856
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9789004260856.html
Raktažodžiai:
Volume one in Brill's Arts and Archeology of the Islamic World, this book looks at Savafid Persian ceramics. It identifies the global change in seventeenth century Persian pottery as chinoiserie, the ability to copy Chinese ceramic models with skill. However, the book dates Persian interest in Chinese ceramics to the sixteenth century, and places it in context with other developments in Persian ceramics of the era. The book is divided into three sections: Savafid pottery in cultural context, a guide to identifying Savafid pottery, and a catalogue of Savafid pottery in the Royal Ontario Museum. The book also discusses field work in Iran that has identified the petrographic characteristics of individual workshops and therefore dispelled two myths: that Savafid pottery can be identified by location of manufacture by color palette alone, and that seventeenth-century vessels found at Kubachi should be attributed to Tabriz or northwestern Iran; they were made in the Isfahan region. While a volume for technical specialists in archeological ceramics or Islamic art history, it is attractively illustrated with many color images of Persian ceramics from the era. Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)

In Persian Pottery in the First Global Age: the Sixteenth and Seventeeth Centuries the authors, L. Golombek, R. B. Mason, P. Proctor, and E. Reilly, challenge the commonly accepted narrative regarding Safavid pottery workshops and chronology and relate changes to historical context.

Recenzijos

"The Safavid period was a truly global age evidenced by its material culture. In this ground-breaking survey of both elite Iranian pottery and imported Chinese porcelain, Lisa Golombek and her team have separated out fact from fiction and extracted revelatory details from a paucity of documentary sources, to unravel a concise linear narrative. This critical survey places this overlooked luxury ware in its socio-economic and cultural context. Consumption is introduced through discussions of shape and purpose; caravanserai, Armenian merchants and East India Company distribution networks; and the importance of contemporary connoisseurship, imperial collecting and royal kitchens is introduced. The commoditization of the potteries, potters and technological innovations are other themes of discourse. Ubiquitous chinoiseries and other foreign patterns are justified by fashionability, inextricably linked with all luxury goods. Integrating modern petrography and archaeology with traditional art history, explored in Tamerlanes Tablewares, has further clarified the mystery of marks and production centres. Golembek, with authors Robert Mason, Patricia Proctor, and Eileen Reilly are to be lauded for providing a level platform for future researchers to build on." - Patricia Ferguson, Consulting Curator, Victoria and Albert Museum

"... lensemble constitue ą nen pas douter un ouvrage de référence, trčs attendu, et une réelle avancée pour lhistoire de la céramique iranienne des xvie et xviie sičcles. Le fonds de céramiques safavides du ROM est intéressant, sans źtre exceptionnel ou particuličrement diversifié ; en faisant de cette collection le moteur dun programme de recherche, Lisa Golombek est parvenue ą allier ą merveille conservation et recherche, haussant ainsi cette collection au rang de référence". - Sandra Aube, in: BCAI 31 (2016)

Preface vii
Collections Cited xi
Important Dates xiii
Maps
xv
Photo Credits xviii
Introduction 1(12)
PART I Safavid Pottery and Society
1 Safavid Society and the Ceramic Industry
13(44)
Lisa Golombek
Eileen Reilly
2 Dominant Fashions and Distinctive Styles
57(66)
Lisa Golombek
3 The Measure of Faithfulness: The Chinese Models for Safavid Blue-and-White
123(46)
Patty Proctor
4 The "Kubachi Problem" and the Isfahan Workshop
169(14)
Lisa Golombek
5 The Safavid Workshops and Petrographic Analysis
183(30)
Robert B. Mason
PART II Identifying Safavid Pottery -- a Guide
6 Diagnostic Motifs
213(32)
Lisa Golombek
Eileen Reilly
7 Potters' Marks
245(14)
Lisa Golombek
Robert B. Mason
Eileen Reilly
8 Shapes Study
259(22)
Eileen Reilly
PART III A Catalogue of the Safavid Pottery in the Royal Ontario Museum
281(150)
Appendix A 431(4)
Appendix B 435(46)
Bibliography 481(14)
Index 495
Lisa Golombek, Ph.D. (1968) University of Michigan, is Curator Emeritus (Royal Ontario Museum) and Professor Emeritus (University of Toronto). Her publications on Islamic art range from architecture to portable objects and include The Timurid Architecture of Iran and Turan (Princeton University Press 1988) and Tamerlanes Tableware (ROM press 1996).

Robert Mason, D. Phil (1994) University of Oxford, is Associate Professor at the University of Toronto, and is an archaeological scientist at the Royal Ontario Museum. He has published widely on the typology, technology, and provenance of the ceramics of the Islamic world, including Shine Like the Sun: Lustre-painted and Associated Pottery from the Medieval Middle East (ROM press, 2004).

Patricia Proctor : M.A. (1968) University of Toronto, is a retired Curator of Chinese Ceramics at the Royal Ontario Museum. She has played an active role in exhibitions and galleries at the ROM and published translations and articles on Chinese ceramics.

Eileen Reilly: M.A. (1998) is a collections care specialist, artist, editor and appraiser. She has worked at the Royal Ontario Museum and the Art Gallery of Ontario.