Layla S Diba
Biographic Data
| ID | 5824401 |
|---|---|
| NAME | Layla S Diba |
| GIVEN NAMES | Layla S |
| FAMILY NAME | Diba |
| SIGNATURE | DIBA L S |
| AFFILIATIONS | Yahoo (United Kingdom) |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
History, Identity, Memory: Nikzad Nodjoumi’s Arzhang
One of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the “periphery”. This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran’s young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illust…
Qajar Photography and its Relationship to Iranian Art: A Reassessment
As the ultimate expression of modernity in the nineteenth century, photography was integral to the introduction of the modern state to Iran. The use of photography as a political tool and as a means of recording information during the reign of Nāser-ed-Din Shah Qajar (1848–96) is well documented. Less well known is the popularity of the camera as a shortcut to illusionistic painting and realistic portraiture in the European Academic style. This p…
Muhammad Ghaffari: The Persian Painter of Modern Life
In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, …
Islamic art: Enamel, furniture, regalia, and other arts
Islamic art: Glass and glass painting
Invested with Life: Wall Painting and Imagery before the Qajars
In the majority of Islamic countries, the art of painting has been restricted to non-figural and geometric designs in the public sphere, and strictly limited to small-scale narrative illustrations of manuscripts in the private sphere. By contrast, Qajar Iran witnessed the development of large-scale figural painting. Such a decisive break with Islamic tradition—where religious and social beliefs were primarily expressed through textual and calligr…
Persian Painting in the Eighteenth Century: Tradition and Transmission
Persian Painting in the Eighteenth Century: Tradition and Transmission
Muhammad Ghaffari: The Persian Painter of Modern Life
In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, …
Persian Painting in the Eighteenth Century: Tradition and Transmission
Persian Painting in the Eighteenth Century: Tradition and Transmission
Invested with Life: Wall Painting and Imagery before the Qajars
In the majority of Islamic countries, the art of painting has been restricted to non-figural and geometric designs in the public sphere, and strictly limited to small-scale narrative illustrations of manuscripts in the private sphere. By contrast, Qajar Iran witnessed the development of large-scale figural painting. Such a decisive break with Islamic tradition—where religious and social beliefs were primarily expressed through textual and calligr…
Islamic art: Enamel, furniture, regalia, and other arts
Islamic art: Glass and glass painting
Muhammad Ghaffari: The Persian Painter of Modern Life
In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, …
Qajar Photography and its Relationship to Iranian Art: A Reassessment
As the ultimate expression of modernity in the nineteenth century, photography was integral to the introduction of the modern state to Iran. The use of photography as a political tool and as a means of recording information during the reign of Nāser-ed-Din Shah Qajar (1848–96) is well documented. Less well known is the popularity of the camera as a shortcut to illusionistic painting and realistic portraiture in the European Academic style. This p…
History, Identity, Memory: Nikzad Nodjoumi’s Arzhang
One of the strategies available to scholars challenging the Western art-historical canon is the use of case studies of the careers of pioneering artists from the “periphery”. This essay will tell the story of a long forgotten chapter of the history of Iranian modern art which has only recently come to light. Just before the 1979 revolution, one of Iran’s young avant-garde painters, Nikzad Nodjoumi (b. 1941), was invited to provide a set of illust…
Art (6 works) · Art history (6 works) · Historical and Architectural Studies (6 works) · History (6 works) · Painting (6 works) · Ancient history (4 works) · Literature (4 works) · Archaeology (3 works) · Eurasian Exchange Networks (3 works) · Law (3 works)