Art and Eurasia

8/14/2019 Art and Eurasia

1/73

ART AND EURASIAThe Development of Pre-Islamic Persian Iconography in Relation

to its Cultural Context in the Eastern Hemisphere


2/73

CULTURALCURRENTSIconographic Connections along the Silk Road

MarchJune 2010 at the RISD Museum


3/73

Objectives for the Viewer:

Concepts of scale and global interconnectivity

Migration as the cause for similarities between art objects and ideas

The Importance of the silk road as a kind of circulatory system for these ideas

To gain a new perspective and to look at objects not for their material value but as representations of larger ideas

To discover art history as it directly relates to he or she

origin

of idea

Adaptation of

idea by different

cultures

How/Why

idea moved to

another region

How/Why

ideas changed/

evolved once

they moved

How Ideas

changed the

culture of the

people living in

new region

Migration is

centuries old &

still happening

today

> > > > >


4/73

Persona: A multi-layered audience for a multi-layered exhibition

Accessible and appropriate for a general audience including children, adults, elderly and those with any

physical or mental disabilities

1 Daniel Sanchez: age 10

- comes from a middle class family and goes to public school

-is learning about world history in school and likes to spend most of time outdoors

2 Daniels mother Carla: age 40

-is a Dental assistant and works 48 hours per week

-on monthly basis brings her children to the museum but is not familiar with specic areas of history


5/73

Chao Fu 1821-1850

Garmet designed for horsebackriding. Imperial Dragon, Confu-cian universe.

Bowl with Foliate Decoration1175-1220

Kashan, Iran

Fritware with inglaze and over-glaze decoration 8.5

Bowl 12th-13th c.

Frit body with moulded decora-tion with touches of purple in aturquioise glaze.

Eastern Iranian (Bamiyan, Af-ghanistan)

Dish 1736-95

Qianglong, China

Mughal style Pale Celadon JadeChrysanthemum Dish

Mens Coat, late 19th c.

Shahr-i Sabz, Uzbekistan

Silk embroidery on cotton, poly-chrome woven border.

Caftan, mid-16th c.

Istanbul, Turkey

Polychrome Silk and gilt-metalthread

Dalmatic, 2nd half of 16th c.

Bursa, Ottoman Empire

Vestment for priest in Orthodoxchurch. Christ the Pantokrator,for Greek market

Coat, 16th century

Iran

Silk velvet with metallic threads

Simonetti Carpet, ca 1500

Mamluk, Egypt

Pile weave, wool pile on woolfoundation, ca. 100 asymmetri-cal knots per square inch

Riding Coat 1630-40

India

Silk thread on white satin

Overglaze Enamel Bottle VaseQing Dynasty, Kangxi Period(1662-1722)

Porcelain 10

Bowl 658, Kwarazm

Silver with repousse and en-graved decoration 12.4cm

Standing Buddha, 6th c.

Pakistan, ancient region ofGandhara

Bronze, 13.25

Standing Buddha, 6th c.

Northern Wei dynasty (386-534)mid-5th c. China

Gilt Bronze 55.25

Silver Plate with David and Goli-ath, 629-630

Byzantine; made in Constantiople

Silver 19.5

Ritual Basin, 7th-9th c.

Pakistan (ancient region ofGandhara)/Central Asia

Bronze 8

Plate 5th century

Hunting scene from the tale ofBahram Gur and Azadeh.

Silver, mercury gilding, 7.9

Bowl, 1688

Hampton Court, England

Porcelain in French-Dutch/Oriental Style.

Dish, later 16th century

Istanbul, Turkey

Style of Yuan and early MingChinese blue/white

Bowl, first half of 13th c.

Syria (Raqqa ware)

Conical bowl shape, underglazepainting, influence from Iran,Minai ware 28.3 cm

Content: Objects from cultures connected by the silk road

Europe A

sia


6/73


7/73

Graphic Representations/Organization of the Objects:

Textiles 1500-PresentCeramics 1000-1500 A.D.Metalwork 500-1000 A.D.

Byzantine Empire Ottoman Empire Middle East Persian Empire Central Asia India/SoutEast A. China


8/73

Interior Exhibition: Understanding the Macro Perspective[how cultures visually and physically relate to one another on the large scale]


9/73

Space for user interaction:Ample space for walking, running, &visitors with any physical disabilities

EntranceDisplay cases for metalwork and ceramics

Life-size display cases for textiles


10/73

Entire oor is a visitor-sensitive

screen that has a cause-effect

activation

Visitor(Danie

Visitor A

Visitor B(Carla)

Visitor B

Aerial View

Side View


11/73

The oor exposes the viewer to

the formal visual connections

between the objects

Possible land routes between

objects and their origins/inu-

ences are highlighted

Similarites are highlighted in

drawings according to geo-graphic color

The wall gives visual & textual

information about the objects


12/73

Different digital objects can be

activated simultaneously on the

oor and wall


13/73


14/73

Information on the wall will de-

scribe individual objects quali-

ties as they are related to otherobjects in the exhibition and

styles of respective cultures


15/73

External Exhibition: Interactive Website:1 Reminder of Macro Perspective at the Museum


16/73

home exhibitiontimeline education scheduleobjects


CULTURALCURRENTS

Pre-IslamIconography

3000 B.C.-600 A.D.

Post-IslamIconography

600A.D.-Present

contact us | subscribe to e-mail list | site map | privacy policy 2009 Cultural Currents, Inc. All Rights Reservedespaol franais


17/73



CULTURALCURRENTS


3000 B.C.-600 A.D.

Post-IslamIconography

600A.D.-Present



18/73



Metalwork 500-1000 A.D.

Ceramics 1000-1500 A.D.

Textiles 1500-Present



19/73








20/73



CHINA






21/73



CHINA



22/73



CHINA



23/73



Qing Dynasty, Kangxi Period AD 1622-1722

China

Porcelain Bottle Vase, 10

Overall Design of scrolling blossoms in colorful overglaze enamel

imitates the decoration of Ming Period Porcelain.

Possible land routes of inuence and origins of objects aesthetic design along the Silk Road:



24/73




China







25/73




China







26/73



LuoyangChina


China







27/73



LuoyangChina


China







28/73




China






MathuraIndia

TaxilaCentral Asia

LuoyangChina


29/73



RayPersia


China






MathuraIndia

TaxilaCentral AsiaDamascasMiddle East

LuoyangChina


30/73



RayPersia


China






MathuraIndia

IstanbulOttoman Empire

EnglandByzantine Empire

TaxilaCentral AsiaDamascasMiddle East

LuoyangChina

BACK


31/73








32/73



500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500

ROMAN EMPIRE VARIOUS PEOPLES/SOUTHWEST ASIA SONG DYNASTYGHAZNAVIDS



33/73



500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500

ROMAN EMPIRE VARIOUS PEOPLES/SOUTHWEST ASIA SONG DYNASTYSELJUKS



34/73



500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500

ROMAN EMPIRE (N) GHURID SULTANATE(S) VARIOUS PEOPLES

SONG DYNASTYKHWAREZM SULTANATE



35/73



500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500

ROMAN EMPIRE (N) DELHI SULTANATE(S) VARIOUS PEOPLES

YUAN (MONGOL) DYNASTY(W) ILKHANATE (MONGOL) &(E) CHAGATAI KHANATE



36/73

External Exhibition: Interactive Website:

2Understanding the Micro Perspective[how the identity of objects from each region originally developed

Focus for Section Exhibiting Pre-Islamic Art: Persia

Why?Because:


37/73

y

Persia (Iran before the

founding of the IslamicRepublic in 1979) is a

culture with an incredibly

rich yet complex history

of its artistic style]

Why?Because:


38/73

Its geographic location sits

almost in the middle ofEurasia along the silk road

and its art exhibits inuences

from almost all cultures

y






Why?Because:


39/73

Its geographic location sits

almost in the middle ofEurasia along the silk road

and its art exhibits inuences

from almost all cultures

y






Dependence > Independence > Interdependence

[i.e. A person is only truly mature when he/she realizes

that real success can only be achieved when he/she

acknowledges the interdependence of nature]

Persian art and general his-

toric tendencies to take thebest elements of each cultur

(whether invasive or docile)

represents a concept whic h

very true to my morals:

Sassanid


40/73

Byzantine Parthian

Achaemenid

Scythian

Hellenistic

Greco-Bactrian

Assyrian

Rome

Bordering Iranian Plateau Area Iranian Plateau Area

Luristan

Gilan Elam SusaCaucasus

PhoenicianUrartu

Hittite Kassite

Central Asia


41/73



CULTURALCURRENTS


3000 B.C.-600 A.D.

Post-Islam

Iconography600A.D.-Present



42/73



CULTURALCURRENTS

Pre-IslamIconography3000 B.C.-600 A.D.

Post-Islam

Iconography600A.D.-Present



43/73



CULTURALCURRENTSIconographic Evolution in Eurasian Territories


44/73

PERSIA/WEST ASIA





45/73




Cultures that make up Pre-Islamic Persian Iconography before 600 A.D.

Roman

Areas that initiated cultivation of Iranian identity 2000 B.C.

Hellenistic Near Eastern Persian Central Asian Indian


46/73




1500-500 B.C.

Influential Cultures


47/73




1500-500 B.C.

Influential CulturesNomads


48/73




1500-500 B.C.

Influential CulturesKassite


49/73




1500-500 B.C.

Influential CulturesHittite


50/73




1500-500 B.C.



51/73




1500-500 B.C.


Gold deer ornament from Kostromskaiakurgan, Kuban region, Caucasus. Scythian,late 7th early 6th century

Scythians were nomadic herders of the steppes north of theBlack Sea. Their origin, just like their mother tongue, is essen-tially unknown. They were among the first nomads ridingdomesticated horses, which gave them tremendous mobilityand power. From the seventh century B. C. they dominated theEastern part of Europe by conquering most other nomads andagricultural tribes.

Scythian jewellery features various animals including stags, cats,birds, horses, bears, wolves and mythical beasts.

BACK


52/73




1500-500 B.C.



53/73




Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.

Different Influences fuse to create a distinct Iranian style

Achaemenid Roots


54/73






Achaemenid RootsEgypt


55/73






Achaemenid RootsScythia


56/73






Achaemenid RootsNomadic


57/73






Achaemenid Roots


58/73






Achaemenid Roots

Gold Cup or Situla With Gazelle Head

The Achaemenid Age is the first period that we can identify anative Persian art. Persian art at this point is no longer charac-

terized as that deriving from any one direct reference desite thecolossal number of borrowings which have lost their originalmeaning.

Styles that can be identified in Achaemenid art serve twofunctions in describing this culture: all of the elements can betraced back to a previous era but the entire pictorial repertoireof art of this era was established by the particiation of crafts-men of various nationalities.

Characteristic Near Eastern Imagery lost in the Scythian tradi-tion survives in Persian art of this era through seals, silver andgold vessels, decoration on swords and monumental art,capitals and colums.

BACK


59/73






Achaemenid Roots

CULTURALCURRENTS


60/73




Byzantine Empire

Greco-Bactria

1 AD: Cultural neighbors simultaneously develop to

create their own identities which ultimately....

Indo Parthia

Kushan

Persian Empire under

Parthian Rule(Achaemenid Roots)

CULTURALCURRENTS


61/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



Roman

CULTURALCURRENTS


62/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



Roman

CULTURALCURRENTS


63/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



Ghandara

CULTURALCURRENTS


64/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



CULTURALCURRENTS


65/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



Reclining woman 2nd century B.C.2nd centuryA.D.; Parthian period Mesopotamia Alabaster

This alabaster figurine is of a nude woman reclining on her left side.Her left arm, which would have supported her body, is missing. Theright arm is extended along her side, with the tips of her fingers restinglightly on her thigh. Faint bands at the womans neck indicate creases;the subtle folds of flesh along the right side of the torso emphasize thefull curves of her figure.

Reclining figures are common among Greek terracottas, and theappearance of the posture in Mesopotamian sculpture may reflect theinfluence of Greek terracotta manufacturing centers along the easternMediterranean. The majority of Greek terracottas of this type are male,however, as are reclining figures depicted in Greco-Roman funeraryreliefs. In Mesopotamia, the opposite is true: whether the figurine isfashioned of alabaster or terracotta, the subject is usually a woman.

While the treatment of the body and graceful pose of the present

sculpture undeniably betray Hellenistic influence, the creases at theneck, the drilled navel, and the voluptuous form are elements of anestablished local tradition.

BACK

CULTURALCURRENTS


66/73




Byzantine Empire

Greco-Bactria



Indo Parthia

Kushan



CULTURALCURRENTS


67/73




....assimulate into the Iranian Identity.

Maturity of Iranian Iconography,

Phase 2: Sassanid Empire 500 A.D.

Sassanid Roots

CULTURALCURRENTS


68/73







Sassanid Roots

CULTURALCURRENTS


69/73







Sassanid Roots

Wine Bowl Silver , applied repousse, partially gilt.

Shapur I (310-379 A.D.)

The king as hunter becomes a standard motif on royal Sasanian silverplates during the reign of Shapur II (30979). The theme symbolizedthe invincibility and the prowess of Sasanian rulers and dominatedthe royal plates, which may have been used as gifts to neighboringcourts. The king has various royal attributes: a crown and fillet,covered globe, nimbus with beaded border, and beaded chest halterwith fluttering ribbons.

Sasanian silver bowls and plates were usually hammered into shapeand then decorated in various complex techniques. On this plate,separate pieces of silver were inserted into lips cut up from the plateto provide high relief. The plate was then gilded using an amalgamof mercury and gold, which could be painted onto the surface, andnielloa metallic alloy of sulfur and silverwas inlaid. The result wasan object of varied surface contours and colors.

BACK

CULTURALCURRENTS


70/73







Sassanid Roots

Applications: Invitation and T-shirt


71/73



MarchJune 2010 at the RISD Museum


72/73

Thank You

RISD Fall 2009 Degree Project Presentation by Laura SobradoInstructors: Degree Project: Tom Ockerse

Senior Studio: Tom Wedell and Hans Van Dijk

References:

Book


73/73

Book7000 Years of Iranian Art Circulated by the Smithsonian Institution. National Gallery of Art, Washington D.C.Axworthy, Michael. Empire of the Mind, A History of Iran. Basic Books 2008.Abrbandi, Ikats of Central Asia. From the Collection of the Islamic Arts Museum, Malaysia. IAMM Publications, 2006Aruz, Joan and Anne Farkas, and Elisabetta Valtz Fino. The Golden Deer of Eurasia, Perspectives on the Steppe Nomads of the Ancient World.

The Metropolitan Museum of Art Symposia. Yale University Press, New Haven, 2006.Bloom, Jonathan and Sheila Blair. Islamic Arts. Phaidon Press Limited. New York, 1997.

Brand, Michael and Glenn D. Lowry. Akbars India: Art from the Mughal City of Victory. The Asia Society Galleries, 1985-6.De Luca, Edizioni. Oxus, Tesori Dell Asia Centrale. Italy, 1993Froom, Aimee. Persian Ceramics, From the Collection of the Asian Art Museum. San Fransisco, 2008.Herrman, Georgina. The Iranian Revival, The Making of the Past. Elsevier Publishing, Oxford, 1977.Hess, Catherine. The Arts of Fire, Islamic Inuences on Glass and Ceramics of the Italian Renaissance. The J. Paul Getty Museum, Los Angeles, 2004.Kalter, Johannes and Margareta Pavalovi. Uzbekistan, Heirs to the Silk Road. Thames and Hudson, London 1997.Komaroff, Linda and Stefano Carboni. The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, 1256-1353. The Metropolitan

Museum of Art. Yale University Press, New Haven, 2002.Loukanine, Vladimir & Anatoli Ivanov. Lost Treasures of Persian Art. Mage Publishers, Bournemouth, England 1996Negahban, Ezat O. A Preliminary Report on Marlik Excavation, Gohar Rud Expedition. Rudbar 1961-62. Offset Press, Tehran, Iran. 1964Pope, Arthur Upham. Masterpieces of Persian Art. The Dryden Press, Publishers, New York, 1945.Reade, Julian. Assyrian Sculpture. Harvard University Press, Cambridge, Massachusetts. 1999Rogers, J.M. and R.M Ward. Suleyman the Magnicent. Welleet Press. Syracuse, NJ, 1988.Rowland, Benjamin. The Art of Central Asia. Crown Publishers, Inc. New York, 1974.Treasures of Persian Art After Islam. The Mahbouian Collection. Plantin Press, Inc. Ney York 1970.

Tucker, Jonathan. The Silk Road, Art and History. Art Media Resources, Chicago, 2003.Ward, Rachel. Islamic Metalwork. Thames and Hudson Inc, New York, 1993.Watson, Oliver. Ceramics from Islamic Lands, Kuwait National Museum, The Al-Sabah Collection. Thames & Hudson. 2004Weisbrod, Michael B. Chinese Ceramic Art: Innovation and Imitation. Michael B. Weisbrok, Inc. New York.Welch, Stuart Cary. The Art of Mughal India, Paintings & Precious Objects. The Asia Society Inc. New York, 1964.

WebsiteAfghanistan, HIdden Treasures from the National Museum, Kabul. http://www.nga.gov/exhibitions/2008/afghanistan/timeline.shtmlIran Chamber Society. http://www.iranchamber.com/index.phpMACE (Metadata for Architectural Contents in Europe). http://www.esono.com/boris/projects/maeve/Metropolitan Museum of Art Heilbrunn Timeline of Art History. http://www.metmuseum.org/toah/The Silk Road Project. http://www.silkroadproject.org/

PeopleHammett Nurosi, Iraj Anvar, Omid Hamooni

Documents

Art and Eurasia