艺术学论文代写_专业高分艺术作业代写

发布时间：2020-12-10 热度：

高分艺术学代写,艺术学作业代写，艺术学网课代修
The Meaning of Woods in the Arts from Isfahan in the 17th Century
Woods including trees, wood furniture, wood buildings, woodware are popular figures in arts. In the present days, woods in arts have the special meaning of sustainability because they represent life and vitality[ Angels Viladomiu, “The Tree in Present-Day Art: An Indicator of Sustainability,” Barcelona Research Art Creation 2, no. 1 (2014): 68.
]. What are the meanings of woods in arts in the old time in a special culture? Figure 1 is a panting from the capital city of Safavid Empire (1501-1722), Isfahan in the Safavid period in the 17th century. It is a right-side frontispiece to a manuscript. The painting depicts an assembly of some courtiers of Shah 'Abbas I (1588-1629), the ruler of the Safavid at his time. For example, two men who wore blue and red robes in the far upper right of the painting were Alpan Bik and Qarajaghay Khan, the royal households of Safavid Empire, held a number of political positions at court and was the main patrons of the art. In other words, the painting expresses the life and wearing traditions of wealthy and powerful people in the Safavid period in Iran in the 17th century. In the painting, some figures related to woods are significantly interesting. As demonstrated by Fred S. Kleiner, a credible professor specializing in art history at Columbia University, woods are the scarcest resource in the most areas of the Islamic world including Iran where is the location of Safavid Empire[ Fred S. Kleiner, Gardner's Art through the Ages: A Global History (Boston, MA: Cengage Learning, 2016), 295.]. Therefore, woods related things including wood furniture, trees, and woodware used in the West were significantly rare in Muslim buildings. In other words, woods were rare in the life of people in Safavid Empire in the 17th century. However, in figure 1, woods are the common figures in the painting. The painting includes green trees on the top, wood furniture such as the wood door and the wood fences on the middle, and woodware such as the wood butt of the gun held by a man on the right bottom. If woods were rare in Safavid Empire, why did the painting include a number of wood figures? What were the meanings of these wood figures in this painting in the Safavid period in the 17th century, comparing with their meanings of sustainability, life, vitality in the present-day arts? After reviewing some academic literary works and comparing the painting with another artwork from Isfahan in the Safavid period, woods in the arts from the city of Isfahan in the 17th century represented the meanings of wealth, good life, and power associated with higher social class.
Initially, as one of the scarcest resources in most of the Islamic world including Safavid Empire, woods in the arts from Isfahan in the 17th century had the meaning of wealth because they were identified as luxuries in the life of Safavid people. In the painting shown in Figure 1, all courtiers of Shah 'Abbas I were sitting or standing in an open-air hall surrounded by a small wood door and a few wood fences. This hall belonged to the most powerful and wealthy man, the king of Safavid Empire, Shah 'Abbas. The rarity of wood furniture in this hall demonstrated the luxury of woods as the wealth in Safavid Empire in the 17th century. Importantly, the meaning of wealth associated with woods in the arts from Isfahan in the 17th century was not rare. As demonstrated in Figure 2, a stone-paste painting from Isfahan in the early 17th century, woods were only belonged to wealthy people in Safavid Empire. The stone-paste painting depicts some poets reciting poetry and setting for a picnic in a garden full of trees and flowers. The garden was initiated and established by Shah 'Abbas I who wanted to transform the city of Isfahan into his new capital city for showing his great powers and wealth in Safavid Empire[ Maryam D. Ekhtiar, Priscilla P. Soucek, Shelia R. Canby, and Navina Najat Haidar, Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art (New York, NY: The Metropolitan Museum of Art, 2011), 235.
]. It meant that the existence of the garden itself was for the purpose of Shah 'Abbas I to show his power and wealth associated with his strong empire. In other words, wood figures in the painting especially trees were the representatives of wealth. Their existences were the results of wealth because only the great power and wealth owned by Shah 'Abbas I were able to establish a garden with full of trees and flowers in the city, Isfahan, where was surrounded by deserts and barren lands. As illustrated by Maryam D. Ekhtiar, Priscilla P. Soucek, Shelia R. Canby, and Navina Najat Haidar, the researchers of art history at the Metropolitan Museum of Art, New York, in the Safavid period in the 17th century, English and French visitors compared the city, Isfahan to a forest with numerous trees and extolled the garden as the place with full of wealth[ Ekhtiar, Soucek, Canby, and Haidar, Masterpieces from the Department of Islamic Art, 235.]. The extolling of English and French visitors demonstrated that in Isfahan in the Safavid period in the 17th century, woods especially trees and the ability to brings numerous trees into deserts and barren lands completely represented the power of wealth. According to this meaning of woods in the history of Isfahan in Safavid Empire in the 17th century, although trees, wood furniture and woodware were only a few presented by the painting shown in Figure 1, their rarity and their special meaning connected to the power of wealth all demonstrate that woods in the arts from Isfahan in the 17th century represented the meaning of wealth.