Court and Cosmos: The Great Age of the Seljuqs

This is a fabulous book on the culture of the Seljuk Turks, who for a time had an empire even larger than the later Ottoman Turks, who developed out of the remnants of the Seljuks. There are gorgeous full-color pictures of the 250 objects in the exhibition, along with close-up shots of parts of the items, and a detailed text providing information and insight into them. This is a culture well worth knowing more about, and this book provides a good look at this culture which lasted from about 1035 to 1300.

Indeed it is ine of the finest books ever printed on Seljuk art.

When hordes of Seljuq Turkmen invaded the high plateau in the early decades of the 11th century Iran experienced an unexpected blossoming of art and science. An exhibition at the Metropolitan Museum of Art in New York with just 250 objects (for instance gold and silver-inlaid brass ewers, basins or candle stands, glazed fritware, gold coins and jewellery, illuminated Qur’ans) on display until 24 July paints a picture of the rather pleasant and luxurious life of noblemen and members of the middle class alike who engaged in hunting, fighting and feasting (bazm wa razm).One may in fact ask (as the New York Times does), What is actually genuinely nomad Seljuqian?“While all of this testifies to an aesthetically and technologically sophisticated culture, a nonspecialist might wonder what is distinctively Seljuqian about it — what distinguishes it from, say, medieval Islamic arts and crafts in general. Nomadic invaders from Central Asia, the Seljuqs did not impose on their subjects a traditional aesthetic or religion of their own. Rather, they commissioned artistic and decorative works from artisans of various subject peoples. They built palaces, mosques, madrasas and hospitals in Islamic architectural styles. But what the Seljuqs created most consequentially was a relatively peaceful, prosperous and unified world wherein indigenous literature, arts and sciences were able to flourish in urban centers throughout the region.”The beautifully written and carefully edited catalog of the exhibition provides invaluable further information about this rather short-lived dynasty of sultans who had conquered much of the then known world.

When hordes of Seljuq Turkmen invaded the high plateau in the early decades of the 11th century Iran experienced an unexpected blossoming of art and science. An exhibition at the Metropolitan Museum of Art in New York with just 250 objects (for instance gold and silver-inlaid brass ewers, basins or candle stands, glazed fritware, gold coins and jewellery, illuminated Qur’ans) on display until 24 July paints a picture of the rather pleasant and luxurious life of noblemen and members of the middle class alike who engaged in hunting, fighting and feasting (bazm wa razm).One may in fact ask (as the New York Times does), What is actually genuinely nomad Seljuqian?“While all of this testifies to an aesthetically and technologically sophisticated culture, a nonspecialist might wonder what is distinctively Seljuqian about it — what distinguishes it from, say, medieval Islamic arts and crafts in general. Nomadic invaders from Central Asia, the Seljuqs did not impose on their subjects a traditional aesthetic or religion of their own. Rather, they commissioned artistic and decorative works from artisans of various subject peoples. They built palaces, mosques, madrasas and hospitals in Islamic architectural styles. But what the Seljuqs created most consequentially was a relatively peaceful, prosperous and unified world wherein indigenous literature, arts and sciences were able to flourish in urban centers throughout the region.”The beautifully written and carefully edited catalog of the exhibition provides invaluable further information about this rather short-lived dynasty of sultans who had conquered much of the then known world.

puntuale, copia esente da ogni difetto che risponde puntualmente alla descrizione rinvenuta in sito. Ben imballata. libro fondamentale per i cultori di arte islamica

les notices sont très bien documentées; les essais remarquables et les photographies d'excellente qualité. Cette exposition et ce catalogue s'inscrivent dans la lignée des grands moments du Metropolitan comme "the legacy of Gengis Khan"vivement recommandé