Post on 30-May-2018
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ART AND EURASIAThe Development of Pre-Islamic Persian Iconography in Relation
to its Cultural Context in the Eastern Hemisphere
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CULTURALCURRENTSIconographic Connections along the Silk Road
MarchJune 2010 at the RISD Museum
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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
> > > > >
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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
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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
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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
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Interior Exhibition: Understanding the Macro Perspective[how cultures visually and physically relate to one another on the large scale]
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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
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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
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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
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Different digital objects can be
activated simultaneously on the
oor and wall
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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
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External Exhibition: Interactive Website:1 Reminder of Macro Perspective at the Museum
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CULTURALCURRENTS
Pre-IslamIconography
3000 B.C.-600 A.D.
Post-IslamIconography
600A.D.-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CULTURALCURRENTS
Pre-IslamIconography
3000 B.C.-600 A.D.
Post-IslamIconography
600A.D.-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
Metalwork 500-1000 A.D.
Ceramics 1000-1500 A.D.
Textiles 1500-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
Metalwork 500-1000 A.D.
Ceramics 1000-1500 A.D.
Textiles 1500-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CHINA
Metalwork 500-1000 A.D.
Ceramics 1000-1500 A.D.
Textiles 1500-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CHINA
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CHINA
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
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:
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
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:
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
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:
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
LuoyangChina
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:
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
LuoyangChina
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:
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
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:
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MathuraIndia
TaxilaCentral Asia
LuoyangChina
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
RayPersia
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:
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MathuraIndia
TaxilaCentral AsiaDamascasMiddle East
LuoyangChina
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
RayPersia
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:
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MathuraIndia
IstanbulOttoman Empire
EnglandByzantine Empire
TaxilaCentral AsiaDamascasMiddle East
LuoyangChina
BACK
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
Metalwork 500-1000 A.D.
Ceramics 1000-1500 A.D.
Textiles 1500-Present
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CULTURALCURRENTSIconographic Connections along the Silk Road
500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500
ROMAN EMPIRE VARIOUS PEOPLES/SOUTHWEST ASIA SONG DYNASTYGHAZNAVIDS
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500
ROMAN EMPIRE VARIOUS PEOPLES/SOUTHWEST ASIA SONG DYNASTYSELJUKS
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CULTURALCURRENTSIconographic Connections along the Silk Road
500 600 700 800 900 1100 1200 1300 14001000 1600 1700 1800 19001500
ROMAN EMPIRE (N) GHURID SULTANATE(S) VARIOUS PEOPLES
SONG DYNASTYKHWAREZM SULTANATE
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CULTURALCURRENTSIconographic Connections along the Silk Road
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
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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:
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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:
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Its geographic location sits
almost in the middle ofEurasia along the silk road
and its art exhibits inuences
from almost all cultures
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:
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Its geographic location sits
almost in the middle ofEurasia along the silk road
and its art exhibits inuences
from almost all cultures
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]
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
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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
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CULTURALCURRENTS
Pre-IslamIconography
3000 B.C.-600 A.D.
Post-Islam
Iconography600A.D.-Present
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Connections along the Silk Road
CULTURALCURRENTS
Pre-IslamIconography3000 B.C.-600 A.D.
Post-Islam
Iconography600A.D.-Present
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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PERSIA/WEST ASIA
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential Cultures
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential CulturesNomads
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential CulturesKassite
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential CulturesHittite
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential Cultures
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential Cultures
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
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
1500-500 B.C.
Influential Cultures
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid Roots
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid RootsEgypt
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid RootsScythia
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid RootsNomadic
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid Roots
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
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
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
Maturity of Iranian Identity Phase 1: Achaemenid Empire 500 B.C.
Different Influences fuse to create a distinct Iranian style
Achaemenid Roots
CULTURALCURRENTS
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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)
Roman
CULTURALCURRENTS
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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)
Roman
CULTURALCURRENTS
8/14/2019 Art and Eurasia
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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)
Ghandara
CULTURALCURRENTS
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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
8/14/2019 Art and Eurasia
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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)
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.
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
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)
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CULTURALCURRENTSIconographic Evolution in Eurasian Territories
....assimulate into the Iranian Identity.
Maturity of Iranian Iconography,
Phase 2: Sassanid Empire 500 A.D.
Sassanid Roots
CULTURALCURRENTS
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home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
....assimulate into the Iranian Identity.
Maturity of Iranian Iconography,
Phase 2: Sassanid Empire 500 A.D.
Sassanid Roots
CULTURALCURRENTS
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contact us | subscribe to e-mail list | site map | privacy policy 2009 Cultural Currents, Inc. All Rights Reservedespaol franais
home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
....assimulate into the Iranian Identity.
Maturity of Iranian Iconography,
Phase 2: Sassanid Empire 500 A.D.
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.
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contact us | subscribe to e-mail list | site map | privacy policy 2009 Cultural Currents, Inc. All Rights Reservedespaol franais
home exhibitiontimeline education scheduleobjects
CULTURALCURRENTSIconographic Evolution in Eurasian Territories
....assimulate into the Iranian Identity.
Maturity of Iranian Iconography,
Phase 2: Sassanid Empire 500 A.D.
Sassanid Roots
Applications: Invitation and T-shirt
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CULTURALCURRENTSIconographic Connections along the Silk Road
CULTURALCURRENTSIconographic Connections along the Silk Road
MarchJune 2010 at the RISD Museum
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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
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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.
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PeopleHammett Nurosi, Iraj Anvar, Omid Hamooni