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Valentine's Day Special Offer Gift Deal Sale Love Persian Miniature Paint Art For Sale
This is from a very old persian story it has also signature real high end fine art feat paint Master piece of Master Fanaizadeh died some 30 years ago subject the automn of life the fall of life the golestan saddi the famous persian poem poets also hand written fron and back of the oage Isfahan A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant Persian genre in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey, and the Mughal miniature in the Indian sub-continent.Each face is polished and furbished by point technic and not lines drawing is just point drawing which is much much more work and complicated technic. Persian art under Islam had never completely forofferden the human figure, and in the miniature tradition the depiction of figures, often in large numbers, is central. This was partly because the miniature is a private form, kept in a book or album and only shown to those the owner chooses. It was therefore possible to be more free than in wall paintings or other works seen by a wider audience. The Qu'ran and other purely religious works are not known to have been illustrated in this way, though histories and other works of literature may include religiously related scenes, including those depicting the Prophet Muhammed, after 1500 usually without showing his face. As well as the figurative scenes in miniatures, which this article concentrates on, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In Islamic art this is referred to as "illumination", and manuscripts of the Qu'ran and other religious books often included considerable number of illuminated pages. The designs reflected contemporary work in other media, in later periods being especially close to book-covers and Persian carpets, and it is thought that many carpet designs were created by court artists and sent to the workshops in the provinces.The bright and pure colouring of the Persian miniature is one of its most striking features. Normally all the pigments used are mineral-based ones which keep their bright colours very well if kept in proper conditions, the main exception being silver, mostly used to depict water, which will oxidize to a rough-edged black over time. The conventions of Persian miniatures changed slowly; faces are normally youthful and seen in three-quarters view, with a plump rounded lower face better suited to portraying typical Central Asian or Chinese features than those of most Persians. Lighting is even, without shadows or chiaroscuro. Walls and other surfaces are shown either frontally, or as at (to modern eyes) an angle of about 45 degrees, often giving the modern viewer the unintended impression that a building is (say) hexagonal in plan. Buildings are often shown in complex views, mixing interior views through windows or "cutaways" with exterior views of other parts of a facade. Costumes and architecture are always those of the time. Many figures are often depicted, with those in the main scene normally rendered at the same size, and recession (depth in the picture space) indicated by placing more distant figures higher up in the space. More important figures may be somewhat larger than those around them, and battle scenes can be very crowded indeed. Great attention is paid to the background, whether of a landscape or buildings, and the detail and freshness with which plants and animals, the fabrics of tents, hangings or carpets, or tile patterns are shown is one of the great attractions of the form. The dress of figures is equally shown with great care, although artists understandably often avoid depicting the patterned cloth that many would have worn. Animals, especially the horses that very often appear, are mostly shown sideways on; even the love-stories that constitute much of the classic material illustrated are conducted largely in the saddle, as far as the prince-protagonist is concerned. Landscapes are very often mountainous (the plains that make up much of Persia are rarely attempted), this being indicated by a high undulating horizon, and outcrops of bare rock which, like the clouds in the normally small area of sky left above the landscape, are depicted in conventions derived from Chinese art. Even when a scene in a palace is shown, the viewpoint often appears to be from a point some metres in the air.In the classic period artists were exclusively male, and normally grouped in workshops, of which the royal workshop (not necessarily in a single building) was much the most prestigious, recruiting talented artists from the bazaar workshops in the major cities. However the nature of the royal workshop remains unclear, as some manuscripts are recorded as being worked on in different cities, rulers often took artists with them on their travels, and at least some artists were able to work on private commissions. As in Europe, sons very often followed their father into the workshop, but boys showing talent from any background might be recruited; at least one notable painter was born a slave. There were some highly placed amateur artists, including Shah Tahmasp I (reigned 1524–1576), who was also one of the greatest patrons of miniatures. Persian artists were highly sought after by other Islamic courts, especially those of the Ottoman and Mughal Empires, whose own traditions of miniature were based on Persian painting but developed rather different styles. The work was often divided between the main painter, who drew the outlines, and less senior painters who coloured in the drawing. In Mughal miniatures at least, a third artist might do just the faces. Then there might be the border paintings; in most books using them these are by far the largest area of painted material as they occur on text pages as well. The miniatures in a book were often divided up between different artists, so that the best manuscripts represent an overview of the finest work of the period. The scribes or calligraphers were normally different people, on the whole regarded as having a rather higher status than the artists - their names are more likely to be noted in the manuscript. Royal librarians probably played a significant role in managing the commissions; the extent of direct involvement by the ruler himself is normally unclear. The scribes wrote the main text first, leaving spaces for the miniatures, presumably having made a plan for these with the artist and the librarian. The book covers were also richly decorated for luxury manuscripts, and when they too have figurative scenes these presumably used drawings by the same artists who created the miniatures. Paper was the normal material for the pages, unlike the vellum normally used in Europe for as long as the illuminated manuscript tradition lasted. The paper was highly polished, and when not given painted borders might be flecked with gold leaf. A unique survival from the Timurid period, found "pasted inconspicuously" in a muraqqa in the Topkapi Palace is thought to be a report to Baysunghur from his librarian. After a brief and high-flown introduction, "Petition from the most humble servants of the royal library, whose eyes are as expectant of the dust from the hooves of the regal steed as the ears of those who fast are for the cry of Allahu akbar ..." it continues with very businesslike and detailed notes on what each of some twenty-five named artists, scribes and craftsmen has been up to over a period of perhaps a week: "Amir Khalil has finished the waves in two sea-scenes of the Gulistan and will begin to apply colour. ... All the painters are working on painting and tinting seventy-five tent-poles .... Mawlana Ali is designing a frontispiece illumination for the Shahnama. His eyes were sore for a few days." Apart from book arts, designs for tent-makers, tile-makers, woodwork and a saddle are mentioned, as is the progress of the "begim's little chest".[20 On Apr-30-13 at 18:08:44 PDT, seller added the following information:FREE! Sellers: Add a FREE map to your listings. FREE! 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