Geneva: Château de Bellerive, 1972–78.Fantasy – Drachen Wallpaper Resolution: 1920x1080 Fire Dragon for 1920×1080 Resolution: 1920x1080 Wallpapers For > Skyrim Dragon Wallpaper 1920×1080 Resolution: 1920x1080 Preview wallpaper dragon, clouds, art, mountains, sky, nighttime 1920×1080 Resolution: 1920x1080 Wallpaper dragon, mouth, night, light Resolution: 1920x1080 Skyrim Dragon HD WallpaperHigh Res Dragon Wallpaper Resolution: 1920x1080 Preview wallpaper dragon, cave, light, art 1920×1080 Resolution: 1920x1080 Dragon Widescreen Wallpaper. Collection of Islamic Art: Prince Sadruddin Aga Khan, vols. L’orient d’un collectionneur: minatures persanes, textiles, céramiques, orfevrerie reassembles par Jean Pozzi. “Zenith of His Time: The Painter Pir Ahmad Baghshimali.” In Persian Masters: Five Centuries of Painting, ed. Enchanted lines: drawings from the Aga Khan Museum collection. New York: The Metropolitan Museum of Art, 2011. Ekhtiar et al., Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. 1 and 2. Boston: Fogg Art Museum, Harvard University, 1981. ISBN: 9781898592051ĭickson, Martin Bernard, and Stuart Cary Welch, eds. The Rebellious Reformer: The Drawings and Paintings of Riza-yi Abbasi of Isfahan. 3 (Geneva: Château de Bellerive, 1978), 124 Canby, The Rebellious Reformer, 89.Ĭanby, Sheila. Anthony Welch, Collection of Islamic Art: Prince Sadruddin Aga Khan, vol. Robinson et al., L’orient d’un collectionneur: minatures persanes, textiles, céramiques, orfevrerie reassembles par Jean Pozzi (Geneva: Musée d’art et d’histoire, 1992), 130, 263, fig. Musee d’art et d’histoire, Jean Pozzi Collection, Geneva, Inv. Abolala Soudavar, “Le Chant du Monde: A Disenchanting Echo of Safavid Art History,” Iran 46 (2008): 270.Ħ. Sheila Canby, The Rebellious Reformer: The Drawings and Paintings of Riza-yi Abbasi of Isfahan (London: Azimuth Editions, 1996), 89.Ĥ. Ekhtiar et al., Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art (New York: The Metropolitan Museum of Art, 2011), 224.ģ. The Metropolitan Museum of Art, New York, Acc. 1 (Boston: Fogg Art Museum, Harvard University, 1981), 264.Ģ. Martin Bernard Dickson and Stuart Cary Welch, eds., The Houghton Shahnameh, vol. That ‘Abbasi himself generally drew domesticated animals may imply that these two drawings would be better attributed to Sadeqi and his followers.ġ.
According to Anthony Welch and Sheila Canby, both drawings could have been executed by a close follower of Reza-e ‘Abbasi. Although it is known that Reza-e ‘Abbasi was not a trained calligrapher, he introduced long, sinuous, and complex lines of variable thickness to art in 1590s Iran.Ī dragon drawing from the late 16th century in the Jean Pozzi Collection, Geneva, resembles A Dragon in a Landscape, particularly in its depiction of the dragon and the roiling clouds. Interestingly, a drawing attributed to Beg and dated about 1600 that is currently in New York’s Metropolitan Museum of Art could have served a model for A Dragon in a Landscape.Ī Dragon in a Landscape also exemplifies a calligraphic style of draftsmanship developed by Sadeqi Beg and his young contemporary, Reza-e ‘Abbasi. As Sadeqi Beg’s many drawings and sketches of dragons attest, this practice could involve revisiting the masters’ imagery. In his treatise Qanun as-suwar (Canon of Painting, 1576–1602), artist Sadeqi Beg exhorted the next generation of artists to follow the past examples of established masters, fashioning something new out of something familiar. The dragon has a long tradition in Iranian art, and it memorably appears in illustrated versions of Firdausi’s epic poem the Shahnameh (Book of Kings). Its head is turned to look back on curling Chinese-style clouds. In this single-page drawing, a dragon with a long, snaking, flaming body climbs a rocky hill. Materials and Technique:ink, opaque watercolour, and gold on paper.
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