In his piece, “Kamal al-Din Bhizad and Authorship in Persianate painting,” Roxbugh investigates the extent to which the Persianate artists exist within their paintings through forms of authorship. He essentially argues that the author’s place in Persianate art “lies along the axis of an ongoing tradition” (136). This differs from Vasari’s concept of European authorship […]

In Roxburgh’s discussion of Persian manuscripts he addresses the issue of comparing the authorship of Western post-Renaissance art and the works of Persian manuscript painter, Bizhad. In western art we often identify authorship with a certain style that is almost always used by an artist. For example artwork made by one painter can always use […]

In Roxburgh’s essay, he discusses the difficulty in making the connection between artist and artwork without signatures or written sources. The essay brings up the point of how viewers tend to make problematic assumptions when placing authorship on a work of art. Roxburgh uses the breadth of Bihzad’s artwork to prove why paintings can’t be […]

Roxburgh discusses authorship in reference to identifying Bihzad’s works in the lens that is typically used in the context of Western post-Renaissance art. He points out many reasons why it is ineffective and honestly quite inappropriate to use these sets of standards when in reference to Persianate painting as many of their criteria don’t even […]