Speaker Details
Dr
Saida Hamzabayova
Azerbaijan National Museum of History of Azerbaijan
Azerbaijan
Biography:
Name Saida Hamzabayova Hamzabay qizi
Citizenship Azerbaijan
EDUCATION
1997-2001 Azerbaijan State Pedagogical University
Faculty: History
Degree: Bachelor
2001-2003 Azerbaijan State Pedagogical University
Degree: Master
Faculty: History
2001-2003 English courses (Azerbaijan State University of Foreign Languages)
WORK EXPERIENCE
2006-June-July
2009-December-
5-10
2010 26-30 September
2011 March - trainings in Stavanger (Norway) ARCHAEOLOGICAL MUSEUM OF STAVANGER in connection with the exhibition in Norway –“Azerbaijan the land of fire”
Japan-Tokyo : “Rethinking of Museums' Core Value and Regional Heritage in Asia-Pacific”Conference of ICOM ASPAC
Turkey (Kayseri) The 1st International Symposium of Seljukids
-Russia (Kazan) International Conference on Golden Hordes (13-15 centuries)
Presentation Abstract:
A Study of Qadi Ahmad’s Treatise on Calligraphers (based on the works of professor –orientalist V.F.Minorsky: (1877-1966), outstanding Russian scholar of Persian history, historical geography, literature and culture, who worked on a very broad canvas, with contributions of substantial value in the related fields of Persian and Turkish studies in the broad sense. Backed by formidable linguistic expertise in both European and Islamic languages, Minorsky’s interests enabled him to range across Eastern Europe to Inner Asia. A scholar investigated the treatise of Qadi Ahmad on calligraphers. This work describes Persian Art. There are: Calligraphy (MS) painting, medicine, mathematics, astronomy and music, poetry, the epistolary art and etc. A careful study of Gadi Ahmad’s memories compels one to abandon the accepted ideas about the organization of artistic life in the Muslim East and seek comparisons for to the West. The treatise describes that in those days the master calligrapher did not act merely as a copier of manuscripts. The master calligrapher took also an active part in all kinds of artistic trades, especially in ceramics.Many calligraphers were painters in our acceptance of the word: Sami Nishapur “was outstanding in his time in the use of colors, outline drawing, gold sprinkling, ornamenting in gold, and he wrote a treatise on these arts.” Qadi Ahmad enumerates the calligraphers who worked in Shiraz or were natives of that town: The above-mentioned Pir-Muhammad, Majd al-din Ibrahim, Pir-Muhammad II, Shams al-din Muhammad Zahir, Ruzbihan Abd al-Qadir, Hafz Abdullah, Husayn Fakhakhar Shirazi. Qadi Ahmad gave a detailed account of the rulings that should be applied in Persian manuscripts. One set of rulings observed in this study was done in this manner, a page of calligraphy with a delicate illuminated panel at the top, and rulings of black, gold, blue, and pale green (M.73.5.518). The rulings cover the edges of applied borders, so further examination is necessary to determine the completeness of the piece. The appendix to Qadi Ahmad's treatise discusses the addition of gum (arabic) as a vehicle for many pigments has carefully documented the use of gum arabic as a vehicle for black and colored inks. Such convincing evidence supports the notion that gum arabic (From Acacia senegal) constituted the essential component of the medium employed in most miniature paintings of the 15th and 16th centuries. Gum tragacanth, which swells considerably in water, could have provided an alternative adhesive to starch pastes, according to Grohmann. The sophisticated Persian painter apparently cut, or mixed, his colors, sensing that the interplay of pure hues would result in a garish effect rather than the desired harmony. A good example of this toning of colors for the sake of visual harmony is found in a 15th century painting from the Shahnama of Firdawsi, entitled Isfandiyar and the Simurgh (M.73.5.410). In this painting, two different shades of yellow were used in the Simurgh's body. The primary pigment in both these yellows is orpiment, but gold, vermilion, and white lead have been added to the yellow in the body to make a warmer tone. The yellow in the bird's wings, however, has ultramarine added to it to produce a cooler tone. Colors were never cut to the extent of creating an atmospheric perspective, however. Particular combinations of pigments for flesh tones, water, landscapes, and the like may have been favored by the Persian artists.
Status: Confirmed