A study on the chinese influences in the Istanbul albums: The strange case of Master Muhammad the black pen
墨笔大师穆罕默德的作品"这一简短署名，可见于伊斯坦布尔托普卡皮宫博物
- Tez No: 755312
- Danışmanlar: Belirtilmemiş.
- Tez Türü: Yüksek Lisans
- Konular: Tarih, Arkeoloji, History, Archeology
- Anahtar Kelimeler: illustrated manuscript, Persianate painting, Chinese art, cultural exchange
- Yıl: 2022
- Dil: İngilizce
- Üniversite: Pekıng Unıversıty
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
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Özet (Çeviri)
The Library of the Topkapı Palace Museum in Istanbul owns four illustrated albums (muraqqa), Hazine 2152, 2153, 2154, and 2160, that are collectively known as the Istanbul Albums. Two of these albums, H. 2153 and H. 2160, hold a group of paintings from the first half of the fifteenth century that are cryptically signed“work of Master Muhammad the Black Pen.”Given the perceived unusual nature of his known body of work and the lack of further information on his identity, an astonishment with this mysterious painter,“Master Muhammad the Black Pen,”has surrounded the international academic circles since the 1950s when the paintings were first made available to a larger public. Scholars dealing with Master Muhammad the Black Pen often point out to a range of cultural influences that can be observed from his painting style, as well as the subject matter of his paintings, including Central Asian, Chinese, Buddhist, Manicheist, and Zoroastrian. The main objective of this master's thesis is to showcase the entangled nature of the influences between the Persianate and Chinese visual cultures utilizing the human-thing entanglement theory. It also aims to analyze the Istanbul Albums in their entirety, and show that they are deliberately curated collections of art that convey a narrative of cultural otherness. By scrutinizing why these particular paintings were put together in the same album by their compilers, this thesis attempts to understand the Persian audiences' perception of Chinese visual traditions. As a further exploration, this thesis takes a closer look at demon and tiger paintings attributed to Master Muhammad the Black Pen or painted in his signature style, qalamsiyahi. As a case study, the relationship between Master Muhammad the Black Pen's demons, and Chinese soushan tu 搜山图 is noted. Two tiger paintings from the album H. 2153 are put in the context of tiger related visual motifs in East Asian painting traditions.
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