The Art and Architecture of Islam 1250-1800

Scanlon, George T.; Blair, Sheila S.; Bloom, Jonathan M.

doi:10.2307/40000618

Journal of the American Research Center in Egypt

1996

DOI: 10.2307/40000618

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The Art and Architecture of Islam 1250-1800

George T. Scanlon¹,

Sheila S. Blair²,

Jonathan M. Bloom³

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2023

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“…xi "These sources confirm the immigration of eastern artists and particularly Iranian ones to the Ottoman court and their influence on Ottoman culture and art: (44,60,(62)(63)(64)(65)(66)(67)(68)(69)(70)(71)(72)(73)(74)(75)(76)(77)(78)(79)(80)(81).…”

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“…This manuscript contains numerous images and miniaturepaintings that highlight the differences between Arabic and Middle Eastern customs." xlii For further reading, please refer to the following resources: (11,14,60,62,68,87,124,148,165,166). xliii Since the famous and influential Iranian painter and artist, Shah Kulu (Qoli), began his activities as the head of the painting workshop at the Ottoman court in Istanbul, the Ottoman artists received greated influence from Persian art (87,167).…”

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Safavid and Ottoman Chanfrons: Re-examining the Attributions of Remaining Chanfrons

Ghafari,

Hashemi

2023

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Art is always intertwined with society and human activities like politics and trade. In ancient times, equipping armies for conquest or territorial defense was vital, with the state of horses on the battlefield being crucial for victory. Alongside soldiers and commanders, the horses were equipped with protective gear like chanfron. Beyond the craft and artistic inclinations in making Islamic motifs and patterns, these artifacts had visual and symbolic significance on the battlefield. Although historical records do not provide precise details about the origins of chanfrons, this type of equine armor became prevalent in various civilizations, including the Ottomans and Safavids, during the 15th to 17th centuries. This study aimed to compare Safavid and Ottoman chanfrons, delving into different aspects. Unlike the limited Safavid examples, displaying common visual traits, the Ottoman ones, constituting a reasonable statistical population, exhibit distinct differences, indicating a lack of unity and accepted artistic style. Moreover, some Ottoman chanfrons bear a striking resemblance to Safavid ones, raising questions about this similarity. The research aimed to understand why certain Ottoman chanfrons resemble the Safavid examples, despite their non-uniformity. The research methodology employed descriptive, comparative, and analytical studies, utilizing archival and field research methods. The objective was to challenge the certainty of their attributions, emphasizing the need for further investigations. Determining the exact origin of chanfrons remains beyond the scope of this study. Overall, despite their current attributions, some artifacts may have been created by Safavid artists and later labeled as Ottoman art due to various circumstances.

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confidence: 83%

mentioning

confidence: 99%

Safavid and Ottoman Chanfrons: Re-examining the Attributions of Remaining Chanfrons

Ghafari,

Hashemi

2023

Preprint

View full text Add to dashboard Cite

show abstract

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The Art and Architecture of Islam 1250-1800

Cited by 1 publication

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Safavid and Ottoman Chanfrons: Re-examining the Attributions of Remaining Chanfrons

Safavid and Ottoman Chanfrons: Re-examining the Attributions of Remaining Chanfrons

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