: une Etude sur les Peintures Dites Farangi Sazi, Leurs Milieux et Commanditaires Sous Shah Soleiman (1666-94)
First Statement of Responsibility
\ par Negar Habibi
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
; Boston
Name of Publisher, Distributor, etc.
: Brill
Date of Publication, Distribution, etc.
, 2018
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xiv, 207 p.
Other Physical Details
:color ill., portraits
SERIES
Series Title
Studies in Persian cultural history
Volume Designation
; volume 13
GENERAL NOTES
Text of Note
Updated version of the author's thesis (doctoral--Universite de droit, d'economie et des sciences d'Aix-Marseille, 2014) under the title: Le farangi sazi et les peintures de Ali Qoli Jebadar.
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Bibliography
Text of Note
Index
SUMMARY OR ABSTRACT
Text of Note
In 'Ali Qoli Jebadar et l'occidentalisme Safavide' Negar Habibi provides a fresh account of the life and works of Ali Qoli Jebadar, a leading painter of the late Safavid period. By collecting several of the artist's paintings and signatures Habibi brings to light the diversity of 'Ali Qoli Jebadar's most important works. In addition, the volume offers us new insights into both the artistic and socio-political evolution of Iranian society in the last days of pre-modern Iran. By carefully consulting the historical sources, Negar Habibi demonstrates the possibility of a female and eunuch patronage in the seventeenth-century paintings known as farangi sazi, while suggesting the use of the term "Occidentalism" for those Safavid paintings that show some exotic and alien details of the Western world.
TOPICAL NAME USED AS SUBJECT
Aliquli Jabbadar -- Criticism and interpretation
Art, Safavid -- Themes, motives
Art patronage -- Iran -- History -- 17th century
Art and society -- Iran -- History -- 17th century