Art timouride

The Art Timouride gathers the artistic creations produced under the dynasty of the same name, which reigned on an empire extending from Persia Eastern in Iraq and Syria between 1370 and 1506.

Context

Historical context

The empire timouride was born from the conquest of Timur-i Leng (" Timour the boiteux"), more known under the name of Tamerlan. This one was originating in Kesh, current the Shahr-e Sabz, a city located at approximately 100 km in the south of Samarkand. It belonged to the clan turco-Mongolian of the Barlas, parents remote of Gengis Khan. By a system of alliance, Timour managed to take possession of the town of Samarkand in 1370, before engaging in a fulgurating conquest of the Islamic world: it seized the Khwarezm and the Khorasan in 1371, the Iran and the Mésopotamie five years later, of the Kipchak plain where reigned the Horde of Gold. In 1395, it occupied during one year the town of Moscow, before making countryside in India (1398-1399) and putting at bag the town of Delhi. In Anatolia in 1402, it seized the person of the sultan Bayazid II, then fought in Syria, took Damas, moved towards the Egypt, but the dynasty Mamelouk E was declared vassal, thus avoiding the annexation of its territory. He dies in sixty and eleven years whereas he was on the point of moving towards China.

The succession of the conqueror had been organized of alive sound, and it is his/her son Shah Rukh who went up on the throne. But the territory was parcelled out quickly, and it was necessary for the successor Timour to take the weapons to reconquer the empire which his/her father had bequeathed to him. In 1420, it directed Iran and Iraq, and dominated, at least of name, India and China. His/her own son, Ulugh Beg, considered astronomer, and governor of Samarkand, took his succession in 1447. But, attacked of all shares, he knew one period of territorial decline which continued until the end of the reign of sultan Husayn Bayqara (R. 1469 - 1506), who closes the dynasty.

Context of artistic creation

Timour, although illiterate, a great taste for the culture had and Article has each one of its conquests, it off-set number of artists and craftsmen towards Samarkand, which created a new art métissé and shining: the " style timouride international". This style was diffused in everyone Islamic after the death of Timour, when the craftsmen returned on their premises and composed a little everywhere of works to the varied influences, according to what they had been able to see in Samarkand.

The patronage sultanien was important thanks to the richnesses accumulated during the conquests: half of the buildings then built were imperial orders. It is necessary to note the big role of the women in all the artistic orders.

Structure and town planning

General information

Several elements are regarded as characteristic of the architectural style timouride :

  • the richness of the orders , which gives place to monuments of colossal scale and abounding in invaluable materials
  • the use of Iranian techniques , namely of brick like principal material, and of elements like the Iwan S, the Pishtak S, etc
  • importance of the geometry and the concept of order, of regularity (symmetry, hierarchical space distribution…). A standardized measuring unit is installation: the gas .
  • of the more advanced techniques of construction , for the cupolas (with double higher hulls thus) and the vaults in particular.
  • the intensive use of mosaic of ceramics and the hazerbaf for the decorations.
Various productions of ceramic architectural :
Several ceramics techniques are used to decorate architectures:
  • the hazerbaf (" thousand tissages" into Persan), exploits the opposition between glaçurées and non-glaçurées bricks, giving an effect of textile;
  • the mosaic of ceramics is a technique born under it-khanides, long and expensive one, which consist in cutting out in ceramics squares coloured of the reasons and assembling them between them;
  • the cuerda seca is a simpler technique and more rapid, which makes it possible to obtain the same effects as the ceramics mosaic by separating the glazes coloured by a black fatty feature. This forgotten technique reappears a little under Timourides, but acquires its noble letters under Safavides;
  • cut ceramics is very seldom employed because of its complexity. Sometimes one finds it in certain tombs of Zinda Shah-I.

Under Timour

Town planning

As from 1370, Timour decided to take Samarkand like capital. This city, which existed since the period Achéménide had been shaven by the Mongolian invasions, and had to be entirely rebuilt. Surrounded by an open wall of six doors, it is composed of a center (the registan) where six avenues converge which structure the city. Important structures, like the large bazaar and the citadel are built at this period, but the necropolis of Zinda Shah-I comprises tombs much older.

Religious architecture

Two buildings, located both at Samarkand, can be mentioned: it is of the Mosquée Bibi Khanum and the Gur-i to mir.

The mosque Bibi Khanum bears this name in remembering the woman (or the mother-in-law, according to the sources) Timour (Tamerlan), to which it is dedicated. Established in full heart of the city, it was ordered in 1398-99, with the return of the Indian countryside, but sudden of many restorations throughout its history (the principal dome had crumbled as of XVe century). Its plan fits in a rectangle of 109 X 107 meters. It is about a plane Iranian to four Iwan S, surrounded on three sides of rooms under cupola and a gantry. The gate, extremely high and deep, is the prototype of a Pishtak; entirely covered with ceramics, it comprises in its upper part a genealogy of Timur-i Leng (Tamerlan). The cupolas corded and bulbous, are decorated by ceramics.

Gur-i to mir is a little later: its construction spreads out between 1400 and 1404. It acts in fact a complex made up of a Madrasa (before 1401) in the east, of a Khanqah with the west and dynastic tomb, built in 1403 after the death of one of small wire of Timour. This Mausoleum, square inside but octagonal outside, is surmounted by a very high cupola because it comprises two hulls. Its decoration is marked by an invaluable material profusion: squares in onyx, inscriptions in Jasper green, Ceramic gilded. In the cupola and certain recesses, one notes an important use of the Muqarnas.

Funerary architecture

In this field, the most important monument is without question the mausoleum of Shaykh Ahmad Yasavi, built with Turkestan between 1394 and 1399. Important place of pilgrimage, the burial of the founder of the order soufi of Yasavi forms a large rectangle (65,5 X 46,5 m), centered under a room under cupola. This one is used as hall behind a gate in form of large Iwan, and opens towards the tomb (with the back) and various accompanying documents on the sides (baths, library, kitchen, rooms of prayer, mosque). One notices a hierarchy in spatial distribution, the height of the decreasing monument as the visitor advances towards the tomb. The decoration is carried out by Muqarnas (in the vaults and the cupolas) and thanks to the technique of the hazerbaf to the outside. The signatures of the artists refer to the town of Shiraz, which undoubtedly states that techniques (of voûtement in particular) were brought from this city by the means of the deportations.

One can also mention the necropolis of Shah-I Zinda (" the king vivant") in Samarkand, which comprises tombs of various periods between XIe and XVe century. In spite of the difference in date, one notices a search for uniformity between all the tombs, which all are of the cubes under cupolas. Those of the period timouride are characterized by their height, their cupolas corded and their complex ceramics coating.

Civil architecture

The birthplace of Timour, Kish, was tranformée by him of capital secondary, and a palate, the Aq Saray (white palate) there was built between 1379 and 1396. There remains about it only one high gate 50 m, extremely major and confined of two bastions. It is decorated in mosaic with ceramics and cuerda seca.

After Timour

Under Shah Rukh, it was the town of Herat which became capital and was renovated. One finds there in particular a madrasa-mausoleum made by Aldine Qavam Shirazi between 1417 and 1437 on ordering of the woman of the sultan, Gawharshad. The tomb, which constitutes the only element surviving with two minarets, is covered with a dome with double hull, in which one observes innovations: a zone of very low transition, with horns, and a room more cruciform than square.

Their son Ulugh Beg, as for him made build an immense observatory with Samarkand, disappeared today. A madrasa, located in front of the Registan, the central place of Samarkand, was also built on its order between 1417 and 1421. It is about the one of the most complex buildings of the reign timouride, which functioned originally coupled with a Khanqah. Its large Iwan of entry, leads to a square court with four iwans, of 30 side m, surrounded by residences student percent. For the decoration, all surfaces are covered with skirting of marble, mosaic of bricks, ceramics squares in cuerda seca, etc Ulugh Beg made build with Bukhara another madrasa, opened in 1418.

Objects

The deportation of the craftsmen with Samarkand made it possible to establish a contact between the various cultural hearths of the East, from Syria to China. The international style timouride which hatches then carried several marks: an important Chinese influence and a strong influence of Kitab khana, the workshop of painting.

Work of the stone lasts

Timourides particularly appreciated the work of the hard stones, to which they allotted magic properties. The most used was the Jade, namely a Néphrite whose colors vary since the white until the almost black green. This fashion, which indicates of a strong influence of China, where jade is cut since millenia, was launched by Ulugh Beg. The principal center of manufacture was Herat.

The most known type for the objects out of jade is a surmounted globulous jug of a broad cylindrical collar whose handle is in the shape of dragon. This type, which would perhaps come from metal, was also taken again by the Yuan potters. One knows also seals, crockery (cups with wine) and of guard of swords manufactured in this matter.

Ceramics

The art of ceramics timouride is a problematic art, little studied, which seems declining compared to the previous periods. Four major production centres could be released: Samarkand, where officiate of the off-set potters of Damas, Nishapur, Mashhad, two centers of blue and white and Tabriz, although it is thought that they are ceramic turkmenes which were produced there. Two other centers are less sure: Diyarbakir and Shiraz. Under Ulugh Beg, a displacement towards Herat takes place, but one really does not know on which scale.

There exist various types of production:

  • the ceramics of Kubacha , which starts to develop in XVe century, even if it takes all its rise under the Safavides;
  • paints It in black under coloured glaze turquoise, blue or more rarely green. This technique fits clearly in the descent of It-khanides, and is marked by a strong influence of China (marlis jig-sawn, reasons for fish, pale color green imitating let us céladons them…) ;
  • the metal gloss , of orange color with a decoration in reserve, is almost not used;
  • blue and white starts to develop, in imitation of the productions of Chinese porcelains considered as objects of great value.

The art of metal

The art of metal is divided into two periods:

  • Under Timour, the produced parts are enormous, as one notices it in the tomb of Shaykh Ahmad Yasavi, which preserved a cauldron 2,43 m in diameter (today with the Hermitage) and a series of six bronze oil lamps encrusted with gold and money. One is with the Hermitage, another in Louvre, and the four last are still in the tomb.

  • After the reign of Timour, the objects turn over to a smaller size, and the decoration of incrustation is miniaturized. One notes a strong inspiration of the objects out of jade, which gives place to a series of jugs similar to those carried out in this matter. The principal center of production is Herat

The art of the book

General information

The concept of Kitab khana born in XIVe century under the It-khanides develops under their successors. This institution, which deals with the artists related to the manufacture of new manuscripts, allows the blossoming of an art of the book more than flourishing. One knows several names of kitabdar (directing), like Nasr Al-Muzahhab, which officiates under Ibrahim Sultan, or Jafar Tabrizi, which works with Herat about 1430 for the account of Baysunghur.

Penmanship knows important evolutions, in particular thanks to the invention of the writing nasta' liq, which is born in Shiraz and Tabriz about 1375. The nashki continuous with being used, but the tuluth declines while the kufique one is useful only like decorative writing in the titles.

New papers also appear during XVe century: coloured papers and gold sandpapers.

Lastly, the field of the binding also shows a new creativity. Generally in morocco, it is decorated in various ways: with irons, ajourements letting see coloured papers, appreciations gilded and blue, etc

Productions

One can divide the period into three:

  • of 1370 to 1440 , where the patrons are the named children of Timour governors. They are often them-even artists. There exist three flourishing workshops then: Samarkand, Shiraz (and the Fars) and Herat.
  • of 1440 to 1470 , which corresponds to one transitional period, where develops the art of the book turkmene in Shiraz and Baghdad and or Herat produces only one restricted number of manuscripts
  • of 1470 to 1515 , where the workshop of Herat finds a strong activity, but where a different style is used.

1370 - 1440

With Samarkand , a large gathering of painters takes place thanks to Timour, but no manuscript with paintings financed by him is known. One preserves only two Corans made on his order. On the other hand, Ulugh Beg was a large patron, and several manuscripts are attached to him, like a Suwar Al-kawarib of Al-Been enough makes towards 1430 - 1440 and comprising 74 paintings of which a portrait of the sovereign. Several astronomical works also point out its taste for this science.

With Shiraz and in the Fars, it is Pir Muhammad which it first continues the tradition of patronage muzaffaride. Iskandar Sultan develops this patronage, followed by Ibrahim Sultan, who is itself calligrapher (one knows of Corans of his hand) and the son of this last, Abdullah. The style developed in this school is characterized by the slim silhouettes from the horses and the characters, and mixes it traditions Muzaffarides and Jalayirides.

With Herat , two large patrons must be named: Shah Rukh, which had a very rich library of scientific and historical texts (one knows manuscripts with the seal of his library) and Baysunghur, his/her son, at the same time calligrapher and poet. One can announce several important manuscripts, like the Jami Al-tawarikh Persan supplement 1113 of the BNF, which, in addition to its miniatures of style jalayiride, in account also some of this period. A Miraj nâmâ carried out in 1436 for an unknown silent partner (BNF, Turkish supplement 190), is also very interesting: it combines inscriptions in a special penmanship, the Ouïgour, which makes it possible to note old Turkish, and of the quotations of Hadith in Arabic in another penmanship. One notes a strong influence of the Central Asia and Bouddhisme.

1440-1470

There almost does not exist production of manuscripts with painting between the death of Rukh Shah (1447) and 1470. One could simply announce a Mantiq Al-Tayr (" conference of the oiseaux") produced in Herat in 1456 and preserved at Berlin, whose few paintings present a simple style, rather little worked out, and who does not mention any dedicatee. At the same time the style turkmene develops in Shiraz and Baghdad.

1470-1506

Under Sultan Husayn Mirza Bayqara (1438-1506) and its minister Mir Ali Shir Nava' I, painting takes again life, taking as a starting point the models of Herat before 1440. However, one notes an evolution in the style, which seems more " naturaliste" (in the shapes and the gestures of the characters in particular), and also seeks a more harmonious composition in the relationship between landscape and architecture.

The school of Hérat is then particularly brilliant thanks to two painters, Mirak and especially Aldine Kamal Bihzad, its pupil, considered as the Persan great painter by the majority of the specialists. One can announce a Bustan of Sa' adi gone back to 1488 which comprises signed paintings of its hand (National library of Cairo), and which presents a very fine work of architecture. Bihzad indeed carries a great interest to architecture; he also works on the expressivity of his characters and the inclusion of several scenes in the same construction industry. Its work will continue in the workshop of the sovereign safavide Shah Ismail

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