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 […]
Roxburgh Persian Manuscripts
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 […]
Roxburgh Persian Manuscripts
In “Bihzad and Authorship in Persianate Painting”, Roxburgh discusses the flaws and issues surrounding the Eurocentric views of art, focusing on the study of the work of Kamal al-Din Bihzad. These modes of stylistic analysis used by European art historians prove to be unsatisfactory and flawed when studying works outside the European canon. This is […]
Bihzad and Authorship in Persianate Painting
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 Persian Manuscripts
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 […]