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The Making of the Artist in Late Timurid Painting$
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Lamia Balafrej

Print publication date: 2019

Print ISBN-13: 9781474437431

Published to Edinburgh Scholarship Online: January 2020

DOI: 10.3366/edinburgh/9781474437431.001.0001

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Potential World

Potential World

Chapter:
(p.108) Chapter Three Potential World
Source:
The Making of the Artist in Late Timurid Painting
Author(s):

Lamia Balafrej

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474437431.003.0004

Chapter 2 examines the representation of epigraphic inscriptions in Persian painting, inscriptions that appeared in pictures as ornaments adorning buildings. It argues for a shift in these inscriptions’ content and function in the late Timurid period. Until the mid-fifteenth century, inscriptions were mainly used to link painting to patron. But in the Cairo Bustan, the poetic verses were chosen so as to convey a celebration of the painter. As such they constitute an example of wasf (ekphrasis), a description of the visual that was also a discourse of praise. Moreover, the verses were picked from the poetry of ‘Abd al-Rahman Jami, a late fifteenth-century poet. The inscriptions thus staged a model for the pictures’ reception, a model in which the painting would circulate among famous poets such as Jami, prompting responses about the medium and its makers. A possible institutional setting for such a scenario was the majlis, a form of social gathering that fuelled the art of jawab (response).

Keywords:   Epigraphic inscriptions, ‘Abd al-Rahman Jami, Wasf (ekphrasis), Jawab (response), Majlis

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