It’s amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi’s epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person’s arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer.
Art
Travelers to Turkey often return with a ceramic plate or tile as a souvenir of their sojourn, many of these have designs based on or inspired by the ceramics from Iznik (the ancient Nicaea, across the Marmara from Istanbul), a major center of production between the 15th and 17th centuries, a history probably unknown to most of the buyers.
Those outside Iran are likely largely unfamiliar with the country’s art and culture of the 19th century, something easily remedied, however, by this very beautifully produced large-format book, packed with splendidly vivid color reproductions and lively analyses.
The ancient Greeks wrote extensively about their distaste for the opulence of the Persians of the Achemenid empire. However, archaeological evidence suggests that the Athenians were not themselves immune from luxury and even incorporated modes of Eastern opulence within their own cultural repertoire.
Chinese Art Since 1970: The M+ Sigg Collection and its sister volume, M+ Collections Highlights are the handsome (and befittingly large) catalogs for M+, Hong Kong’s Herzog & de Meuron-designed museum of modern and contemporary visual culture which opened to the public in November of 2021.
History of Japanese Art after 1945 surveys the development of art in Japan since WWII. The original Japanese work, which has become essential reading for those with an interest in modern and contemporary Japanese art and is a foundational resource for students and researchers, spans a period of 150 years, from the 1850s to the 2010s. Each chapter is dedicated to a specific period and written by a specialist.
“Great” is a word that comes easily to mind while handling this book. The author and publishers were apparently determined to make readers appreciate the greatness of this 14th-century version of the Iranian national epic. Included in the more than 500 pages are nearly 300 unique illustrations (more, including close ups) reproduced in actual or larger than actual size, taking advantage of the book’s large format, one foot wide and more than a foot high. The quality of the reproductions are excellent, bringing to life the gold, lapis lazuli and vermilion lavishly employed by the master painters.