Copyright basics by Library of Congress. Copyright Office

By Library of Congress. Copyright Office

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TSM, H. 802, fol. 134a; see Atasoy, Garden, fig. 4, p. 29. Istanbul Univ. Library T 5461; see Atasoy, Garden, fig. 11, p. 31. Atasoy, Garden, fig. 24, p. 37. Atasoy, Garden, fig. 16, p. 34. Günsel Renda, Batilila×ma döneminde Türk resim sanatæ 1700– 1850 (Ankara, 1977), pp. 80–84; Atasoy, Garden, pp. 264– 69. 20 nurhan atasoy old images for new texts and contexts 21 SERP~L BA²CI OLD IMAGES FOR NEW TEXTS AND CONTEXTS: WANDERING IMAGES IN ISLAMIC BOOK PAINTING The main characteristic of the art of painting in the Islamic world—be it in a manuscript, in an album, or on a wall—is its dependence, directly or indirectly, on a textual or oral narrative.

9 Ahmedî therefore appropriates Isfandiyar’s attributes, with some minor modifications, for his own hero, ~skender, to underline his courage and skill. Like the poet, the artist, probably working in Edirne, has drawn on the visual models developed for the Isfandiyar story in the Sh¸hn¸ma. When comparing the illustration in the Venice Ahmedî to one of the numerous representations of Isfandiyar’s feat in the Sh¸hn¸ma (fig. 3), one can observe their shared iconography, even though the styles are quite different.

5, pp. 290–96). ) kills Bahman together with a dragon and sends his body to Iran. Since Bahman does not have a son to succeed him, the nobles choose his pregnant wife as their ruler. The translator adds, with reference to “some traditions,” that Bahman was married to his own daughter, which was allowed by the “Pahlavi” religion. The veil worn by Humay seems to be one of several Ottoman additions. The rest of the story, however, parallels the original Sh¸hn¸ma (T. 6133, fol. 728b). 22. T. 6133, fol.

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