Emily Shovelton
Biographic Data
| ID | 5974925 |
|---|---|
| NAME | Emily Shovelton |
| GIVEN NAMES | Emily |
| FAMILY NAME | Shovelton |
| SIGNATURE | SHOVELTON E |
| AFFILIATIONS | Khalili Research Centre, University of Oxford, Oxford, UK |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Lifting the Veil from the Face of Depiction’
‘Master Ahmad Musa, who was his father's pupil, lifted the veil from the face of depiction, and the [style of] depiction that is now current was invented by him.’ 1 This oft-quoted phrase from Dust Muhammad's (fl. 1510–64) preface to the Bahram Mirza Album 2 serves as the inspiration behind our title for this Festschrift in honour of Dr Barbara Brend, whose work has enhanced our understanding and appreciation of Persianate painting
The Shiraz Connection
This article offers a new perspective on the relationship between manuscript production in Shiraz under the Timurids and in the Sultanate states of South Asia. During the so-called long fifteenth century, between Timur's invasion in 1398 and Humāyūn's return to India in 1555, there was a surge of creativity in the arts, despite the fractured political landscape of multiple courts. The resulting material culture is vibrant and diverse and belies p…
Revisiting a Royal Sultanate Manuscript from Bengal
The subject of this paper is a striking copy of the Sharafnama by Nizami dated 938/1531–2, made for the ruler of Bengal, Nusrat Shah (r.1519–32). This slim volume contains nine vibrant paintings that show the assimilation of both Indic and Persian artistic traditions: adaptations common to several fifteenth-century manuscripts from the Indian sultanates. However, there are no other surviving manuscripts that were produced in the court of the Beng…
No prominent works on this page.
Revisiting a Royal Sultanate Manuscript from Bengal
The subject of this paper is a striking copy of the Sharafnama by Nizami dated 938/1531–2, made for the ruler of Bengal, Nusrat Shah (r.1519–32). This slim volume contains nine vibrant paintings that show the assimilation of both Indic and Persian artistic traditions: adaptations common to several fifteenth-century manuscripts from the Indian sultanates. However, there are no other surviving manuscripts that were produced in the court of the Beng…
Lifting the Veil from the Face of Depiction’
‘Master Ahmad Musa, who was his father's pupil, lifted the veil from the face of depiction, and the [style of] depiction that is now current was invented by him.’ 1 This oft-quoted phrase from Dust Muhammad's (fl. 1510–64) preface to the Bahram Mirza Album 2 serves as the inspiration behind our title for this Festschrift in honour of Dr Barbara Brend, whose work has enhanced our understanding and appreciation of Persianate painting
The Shiraz Connection
This article offers a new perspective on the relationship between manuscript production in Shiraz under the Timurids and in the Sultanate states of South Asia. During the so-called long fifteenth century, between Timur's invasion in 1398 and Humāyūn's return to India in 1555, there was a surge of creativity in the arts, despite the fractured political landscape of multiple courts. The resulting material culture is vibrant and diverse and belies p…
Archaeology (3 works) · Art (3 works) · History (3 works) · History (3 works) · Islamic Studies and History (3 works) · Philosophy (3 works) · Philosophy (3 works) · Ancient history (2 works) · Art history (2 works) · Classics (2 works)