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ARTS OF THE BOOK IN THE 15 TH–17 TH-CENTURY MAWARANNAHR

ARTS OF THE BOOK IN THE 15 TH–17 TH-CENTURY MAWARANNAHR

Description

The largest centers of handwritten book creation in the history of Uzbekistan were Bukhara, Samarkand and Shahrukhia, where calligraphers and miniaturists, masters of paper and leather bindings worked with inspiration in the quietude of court workshops. Nine unique manuscripts, fully or partially created in these centers, are presented in the book-album Arts of the Book in the 15th–17th-Century Mawarannahr (from the Collection of the National Library of Russia, Saint Petersburg, Russia). These books, written in the Chagatai, Arabic and Persian languages, are decorated in the best traditions of the art of book making in Transoxania (Mawarannahr). The miniatures adorning them attracted researchers even before, but they never were published in full, and their plots not always were disclosed with sufficient completeness. As for calligraphy and ornamental decoration, they were rarely published, and the bindings remained completely out of sight. The book-album is designed to fill this gap.

ARTS OF THE BOOK IN THE 15 TH–17 TH-CENTURY MAWARANNAHR

Description

The largest centers of handwritten book creation in the history of Uzbekistan were Bukhara, Samarkand and Shahrukhia, where calligraphers and miniaturists, masters of paper and leather bindings worked with inspiration in the quietude of court workshops. Nine unique manuscripts, fully or partially created in these centers, are presented in the book-album Arts of the Book in the 15th–17th-Century Mawarannahr (from the Collection of the National Library of Russia, Saint Petersburg, Russia). These books, written in the Chagatai, Arabic and Persian languages, are decorated in the best traditions of the art of book making in Transoxania (Mawarannahr). The miniatures adorning them attracted researchers even before, but they never were published in full, and their plots not always were disclosed with sufficient completeness. As for calligraphy and ornamental decoration, they were rarely published, and the bindings remained completely out of sight. The book-album is designed to fill this gap.