1940 Иранская Станковая Живопись- Амиранашви́ли; IRANIAN/ PERSIAN Easel Painting

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Title: "Iranian Easel Painting"

("Иранская Станковая Живопись")

Author(s)/Editor(s): Shalva Yasonovich Amiranashvili (Ша́лва Ясо́нович Амиранашви́ли

Language(s): Russian (Русский); Place: Tbilisi (Тбилиси)

Publisher: "Metekhi-Museum of History of Culture and Art ("Метехи-Музей Истории культуры и Искусства")

Cover: Hardcover.; Sizes: 34(W) x 43(H) cm; Year: 1940Pages: 36 pages + 35 tables (5 are missing)

Condition: Good Antique Condition- General age wear. Some minor stains and spots. 5 illustrations (out of 35) are missing. Overall, internally clean; well kept and well preserved pages. For more information regarding book's condition- check provided images or ask us.

Item's Code: XR-4005

ABOUT:

Very rare (only 700 copies), large format book-album "Iranian Easel Painting", published in 1940, in Georgia. Has 36 pages text and 30 (out of 35- 5 illustrations are missing) illustration plates.

Shalva Yasonovich Amiranashvili (Georgian: შალვა იასონის ძე ამირანაშვილი; March 26 (April 7), 1899, Oni Rachinsky district and Kutaisi province - February 9, 1975, Tbilisi) - Soviet art critic, specialist in the history of Georgian and Iranian art. Corresponding Member of the USSR Academy of Sciences since September 29, 1943 in the Department of History and Philosophy (Art History). Academician of the Academy of Sciences of the GSSR (1955)


​Persian easel painting of the 18th-19th centuries, a unique phenomenon for the countries of the Near and Middle East, developed under the influence of European culture. Western influence manifested itself in Iran back in pre-Qajar times, during the “golden age” of the reign of the Safavid Shah Abbas (1587-1629), which was marked not only by the flourishing of the economy and culture, but also by the establishment of close contacts with Europeans. Eastern masters, copying the works of foreigners, began to use their painting techniques - light and shadow modeling of form, linear perspective. Gradually they turned to a new technique - oil painting, which during the 18th century replaced traditional tempera.
For reigning in Iran at the end of the 18th century. During the Qajar dynasty, painting became one of the means of justifying the legitimacy of their own power. Images of the ruler on the hunt, in battle, and during luxurious palace receptions served proclamative purposes, reflecting the power and greatness of the dynasty. The main genre during the reign of the second Qajar monarch, Fath Ali Shah (1798-1834), became a ceremonial portrait. It was at this time that the features of the “Qajar” painting style finally took shape: linearity and local color scheme, decorative drawing, detailed elaboration of the ornament. The formation of iconography occurred gradually, both on the basis of our own tradition of miniature painting, and under the influence of the European school. The flat image was combined with hints of perspective, a detailed drawing of each costume pattern with portrait facial features and black and white modeling. Slender figures in lush clothes against the backdrop of open windows or arches, a detailed interior, idealized faces of the shahs and their courtiers - all this created a feeling of solemnity.

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Амиранашвили, Ш.Я. (Шалва Ясонович, 1899-1975)

Иранская станковая живопись : [Альбом репродукций] / Ш. Амиранашвили ; "Метехи" - музей истории культуры и искусства. - Тбилиси, 1940. - 36 с., 30
л. ил. (из 35-и, 5 иллюстраций отсутствуют) ; 700 экз.

Ша́лва Ясо́нович Амиранашви́ли (груз. შალვა იასონის ძე ამირანაშვილი; 26 марта (7 апреля) 1899, Они Рачинского уезда Кутаисской губернии — 9 февраля 1975, Тбилиси) — советский искусствовед, специалист по истории грузинского и иранского искусства. Член-корреспондент АН СССР с 29 сентября 1943 года по Отделению истории и философии (история искусств). Академик АН ГССР (1955)

Персидская станковая живопись XVIII-XIX веков – уникальное явление для стран Ближнего и Среднего Востока – получила развитие под воздействием европейской культуры. Западное влияние проявилось в Иране ещё в докаджарское время, в «золотой век» правления сефевидского шаха Аббаса (1587-1629), ознаменовавшийся не только расцветом экономики и культуры, но и установлением тесных контактов с европейцами. Восточные мастера, копируя работы чужестранцев, начали использовать и их живописные приёмы – светотеневую моделировку формы, линейную перспективу. Постепенно они обратились и к новой технике – живописи масляными красками, в течение XVIII столетия вытеснившей традиционную темперу.

Для воцарившейся в Иране в конце XVIII в. династии Каджаров живопись стала одним из средств обоснования легитимности собственной власти. Изображения правителя на охоте, в битве, во время роскошных дворцовых приёмов служили прокламативным целям, отражая мощь и величие династии. Главным жанром в правление второго каджарского монарха Фатх-Али шаха (1798-1834) становится парадный портрет. Именно в это время окончательно складывались особенности «каджарского» живописного стиля: линейность и локальная цветовой гамма, декоративный рисунок, детальная проработка орнамента. Формирование иконографии происходило постепенно как на основе собственной традиции миниатюрной живописи, так и под влиянием европейской школы. Плоскостное изображение сочеталось с намеками на перспективу, детальная прорисовка каждого узора костюмов – с портретными чертами лица и светотеневой моделировкой. Стройные фигуры в пышных одеждах на фоне открытых окон или арок, подробно выписанный интерьер, идеализированные лица шахов и их придворных – всё это создавало ощущение торжественности.

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Tags : Russia, Russian, Russians, USSR, Soviet, Lenin, Stalin, CCCP, Rusko-, red army, Tiflis, Tbilisi, guide, Georgia, Gruzinskiy, Gruzinskii, Gruzinskogo,


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