By Contadini, A.
Arab portray is taken care of the following as an important creative corpus in its personal correct. Rejecting the normal emphasis on person work, the prestigious participants to this quantity pressure the combination of textual content and snapshot as a extra efficient theoretical framework.
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Additional resources for Arab Painting (Handbook of Oriental Studies Handbuch Der Orientalistik)
Just as the word ‘Gothic’ had originally an ideological connotation dealing with a certain kind of European ethnic nationalism, so the word ‘Arab’ was seen as expressing an ideology, a national one which is as complex and confused as Arab nationalism is today. There were Iraqi stamps of the celebrated camels from the 1237 Maqāmāt manuscript after the appearance of Ettinghausen’s book, and the name of al-Wāsi ī was used as a flagship to identify contemporary artistic efforts and groups of artists.
With each generation of scholars making further advances in the field, it is impossible to address this problem comprehensively or definitively, but I trust nonetheless that my observations may have some use in establishing a different dimension for the terms we use and in helping to outline a proper frame for scholarly investigations often obscured by a defective terminology. My remarks will not be illustrated and my bibliographical references will be limited, as the point of this essay does not lie in the description and interpretation of individual images or even manuscripts, but in the evaluation of a large body of data and in an attempt to provide epistemological coherence to what seemed to me to be a rather vacuous terminology, easy to explain historiographically and even emotionally or politically, but hardly justified intellectually.
12 Farès 1953a, p. 10 and pl. XXI. Ettinghausen 1962, p. 86. Institut du Monde Arabe 1996, p. 156. In 1954, Régis Blachère suggested, somewhat indirectly, that the Paris Diryāq’s date was a later addition; Blachère 1954, p. 294. His suggestion, however, was based on his confusion of the original scribe (who wrote the text in alternating kufic and cursive scripts) with one of two later hands responsible for the cursive marginal glosses and renderings of plant names on the herbal pages. The problem was outlined and resolved by Bishr Farès 1957, pp.