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the miniatures of
England and France and the Low Countries. Intercommunication between the countries of Europe was too well established for the case to be otherwise. In Italian manuscripts of the normal type the influence of Byzantine art is very manifest during the 13th and 14th centuries. The old system of painting the flesh tints upon olive green or some similar pigment, which is left exposed on the lines of the features, thus obtaining a swarthy complexion, continued to be practiced in a more or less modified form into the 15th century. As a rule, the pigments used are more opaque than those employed in the northern schools; and the artist trusted more to color alone to obtain the desired effect than to the mixture of color and gold which gave such brilliant results in the diapered patterns of France. The vivid scarlet of the Italian miniaturists is peculiarly their own. The figure-drawing is less realistic than the contemporary art of English and French manuscripts, the human form being often thick-set. In general, the Italian miniature, before its great expansion in the 14th century, is far behind the miniatures of the north. But with the 15th century, under the influence of the
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229:, of the early 5th century. They are in a more perfect condition and on a larger scale than the Ambrosian fragments, and they therefore offer better opportunity for examining method and technique. The drawing is quite classical in style, and the idea is conveyed that the miniatures are direct copies from an older series. The colors are opaque: indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. It seems that the background of the scene was first painted in full, covering the whole surface of the page; then, over this background were painted the larger figures and objects; and over these again the smaller details in front of them were superimposed. (The
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time is unsurpassed. French art still maintains its neat precision, the colors more vivid than those of
England and the faces delicately indicated without much modelling. The productions of the Low Countries, still keeping to the heavier style of drawing, appear coarse beside the works of the other schools. Nor does German miniature art of this period hold a high position, being generally mechanical and of a rustic character. As time advances the French miniature almost monopolizes the field, excelling in brilliancy of coloring, but losing much of its purity of drawing although the general standard still remains high. The English school gradually retrogrades and, owing no doubt to political causes and to the wars with France, appears to have produced no work of much value. It is only towards the end of the 14th century that there is a revival.
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popularity, and afforded a wider field for the invention of the illustrating artist. Therefore, with the opening of the 14th century a palpable change of style supervenes. We pass to more flowing lines; not to the bold sweeping strokes and curves of the 12th century, but to a graceful, delicate, yielding style which produced the beautiful swaying figures of the period. In fact the miniature now begins to free itself from the role of an integral member of the decorative scheme of illumination and to develop into the picture, depending on its own artistic merit for the position it is to hold in the future. This is shown by the more prominent place that the miniature now assumes, and by its growing independence of the decorative border and initial.
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270:. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped and conventional. The tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor. Here we first find the technical treatment of flesh-painting which afterwards became the special practice of Italian miniaturists, namely the laying on of the actual flesh-tints over a ground of olive, green or other dark hue. Landscape, such as it was, soon became quite conventional, setting the example for that remarkable absence of the true representation of nature which is such a striking attribute of the miniatures of the
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Mlke", "The Gospel of Kars", "The Gospel of
Trabzon" have survived from the period of the kingdoms of Bagratuni and Artsruni. These manuscripts contain the main features of the further development of Armenian miniature painting: • columnar tabernacles, • gold leaflets with capital letters, • Lord's pictures, that is the events of Christ's life, which are mentioned in the church holidays, • miniatures attached to the text. An organic combination of Byzantine and all-Christian art can be found in them, in the depictions of arches of the tabernacles of the "Gospel of Queen Mlke", Egyptian motifs, architectural decor of evangelical paintings, and elements of Hellenistic art.
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countries (Byzantium և European countries). Famous miniature painters Grigor
Mlichetsi, Toros Roslin, Sargis Pitsak and others appeared creating elegant royal manuscripts ("King Hetum II's dinner", "Gospel of Queen Keran"). A relatively stable political situation in some regions of Greater Armenia contributed to the development of miniature painting. While the representatives of the Gladzor School of Miniature Painting stand out with stressed personalities, the artists of Vaspurakan (Simeon Artchishetsi, Zakaria Akhtamartsi, Rstakes, Kirakos Aghbaketsi and others) moved back to more unified painting traditions. The famous center of miniature painting was the
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of the backgrounds. The diapers become more elaborate and more brilliant; the beauty of the burnished gold is enhanced by the stippled patterns which are frequently worked upon it; the gothic canopies and other architectural features which it became the practice to introduce naturally followed the development of the architecture of the period. In a word, the great expansion of artistic sentiment in decoration of the best type, which is so prominent in the higher work of the 14th century, is equally conspicuous in the illuminated miniature.
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developed, endowed with tragic-emotional accents, and a great importance was paid to plant-animal motifs. In the first half of the 13th century, before the Mongol invasions, miniature painting flourished in
Greater Armenia ("Gospel of Haghpat", "Gospel of Translators"). Miniature painting received an unprecedented new quality in Cilician Armenia. Exquisite manuscripts were collected both in the monasteries and in the royal court, and in addition to the clergy, manuscripts were ordered by members of the royal court and the councilors.
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765:, devotional books for individual use, which were multiplied in vast numbers and contained some of the finest work of the miniaturists. The decoration of these little volumes escaped in great measure from the conventional restraints which their religious character might have imposed. Furthermore, the demand for illuminated manuscripts had by this time established a regular trade; and their production was not confined, as formerly, to the cloister. Notable secular illuminated manuscript artists include
533:, or portraits of the emperors themselves: the figures formal; the pages brilliantly colored and gilded, generally set in architectural surroundings of a fixed type, and devoid of landscape in the real sense of the word. Accompanied as it was with profuse decoration in border and initial, it set the pattern for the later Continental schools of the West. On the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the
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strokes in the features and with neat slim bodies and limbs. The backgrounds blaze with color and burnished gold; and delicate diaper patterns of alternate gold and color abound. Frequently, and especially in
English manuscripts, the drawings are merely tinted or washed with transparent colors. In this century, too, the miniature invades the initial. Whereas in the earlier periods bold flowering scrolls are the fashion, now a little scene is introduced into the blank spaces of the letter.
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artist affects rather lighter tints than those of the other schools: a partiality is to be observed for light green, for grey-blue, and for lake. The French artist loved deeper shades, especially ultramarine. The
Fleming and the German painted, as a rule, in less pure colors and inclined to heaviness. A noticeable feature in French manuscripts is the red or copper-hued gold used in their illuminations, in strong contrast to the paler metal of England and the Low Countries.
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518:, which probably derived its characteristic free-hand drawing from classical Roman models, scarcely influenced by the Byzantine element. The highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the general line of development of the western medieval miniature.
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arose the practice of filling in the entire space with a sheet of gold, often burnished: a brilliant method of ornament which we have already seen practiced in the
Byzantine school. We have also to notice the conventional treatment of the sacred figures, which continue henceforward, from a sense of veneration, to be clad in the traditional robes of the early centuries, while the other figures of the scene wear the ordinary dress of the period.
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middle of the century, just when the better appreciation of nature was breaking down the old conventional representation of landscape in
European art, and was transforming the miniature into the modern picture. Whatever miniature painting was to be produced in England after that time was to be the work of foreign artists or of artists imitating a foreign style. The condition of the country during the
573:, 963 to 984, with its series of miniatures drawn in the native style but painted in opaque pigments, exhibits the influence of the foreign art. But the actual drawing remained essentially national, marked by its own treatment of the human figure and by the disposition of the drapery with fluttering folds. The style was refined, tending to exaggeration and disproportion of the limbs. With the
301:, also afford examples of the dominating Byzantine influence. But the early Middle Ages provide but few landmarks to guide the student; and it is only when he emerges into the 12th century, with its frescoes and miniatures still bearing the impress of the Byzantine tradition, that he can be satisfied that the connection has always existed during the intervening centuries.
1259:; with the influence of Hindu artists, colors became brighter and compositions more naturalistic. The subject matter was predominantly secular, mainly consisting of illustrations to works of literature or history, portraits of court members and studies of nature. At its height the Mughal painting style represented an elegant marriage of Persian, European, and Hindi art.
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the Virgin's face, for example, with its full, high forehead, can never be mistaken. In the best
Flemish miniatures of the period the artist succeeds in presenting a wonderful softness and glow of color; nor did the high standard cease with the 15th century, for many excellent specimens still remain to attest the favor in which it was held for a few decades longer.
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860:, it advanced into the front rank and rivalled the best work of the Flemish school. The use of thicker pigments enabled the miniaturist to obtain the hard and polished surface so characteristic of his work, and to maintain sharpness of outline, without losing the depth and richness of color which compare with the same qualities in the Flemish school.
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The promise of the new development in English miniature painting, however, was not to be fulfilled. In the first quarter of the 15th century, examples of great merit were produced, but at a standstill in drawing and fettered by medieval convention. The native art practically came to a close about the
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Books with religious content were mostly decorated, however, the miniature artists, or "flourishers", as they were called at the time, were able to express their emotions and feelings and to reflect real life scenes through religious themes. Especially in capital letters at the beginning of the text,
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Miniatures are forged for various reasons. Forged Islamic miniatures depicting scientific advancements are made by Turkish artisans as souvenirs, and can often be found innocuously as stock photos on the Internet or within formal learning materials. Medieval European miniatures also have been forged
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Early in the century the old conventional treatment of landscape still held its own; nor did the diapered and gilded background pass out of use. Indeed, in some of the finest French specimens of the time the diapered patterns are more brilliant than ever. But natural scenery in the second quarter of
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With the awakening of art in the 12th century the decoration of manuscripts received a powerful impulse. The artists of the time excelled in the border and the initial, but in the miniature also there was vigorous drawing, with bold sweeping lines and careful study of the draperies. The artists grew
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were the most illustrated, followed by the Bible and other religious collections. The first miniatures that have reached us are samples of the 6th-7th centuries. The types of characters and painting in them are reminiscent of the frescoes of Lmbat and Aruch from the 7th century. The "Gospel of Queen
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from the 5th century. In these pictures there is a considerable variety in the quality of the drawing, but there are many notable instances of fine figure-drawing, quite classical in sentiment, showing that the earlier art still exercised its influence. Such indications, too, of landscape as are to
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The Flemish school in the latter part of the 15th century attained to its highest excellence. The Flemish miniature affected extreme softness and depth of color; also an ever-increasing carefulness in the treatment of details, of the draperies, of the expression of the features: the Flemish type of
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First we have to consider northern France and the Low Countries. As it passes out of the 14th and enters the 15th century, the miniature of both schools begins to exhibit greater freedom in composition; and there is a further tendency to aim rather at general effect by the coloring than neatness in
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But, at the same time, while the miniature of the 14th century thus strives to dissociate itself from the rest of the illuminated details of the manuscript, within itself it flourishes in decoration. Besides the greater elasticity of the figuredrawing, there is a parallel development in the designs
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the stylistic forms of which bear similarities with the pre-Gothic miniatures, which show the eastern origins of the latter. The miniatures of that group stand out in the monumental-fresco style. In the manuscripts of the 12th century, the traditions of miniature art of the 10th-11th centuries were
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And yet, while the ascetic treatment of the miniatures obtained so strongly in Byzantine art, at the same time the Oriental sense of splendour shows itself in the brilliancy of much of the coloring and in the lavish employment of gold. In the miniatures of Byzantine manuscripts are first seen those
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testify; and in the miniatures of the later Byzantine manuscripts, which were copied from earlier examples, the reproduction of the models is faithful. But on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open
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The Flemish miniature did not, however, hold the favor of western Europe without a rival. That rival had arisen in the south, and had come to perfection concurrently with the miniature of the Low Countries in the 15th century. This was the Italian miniature, which passed through the same stages as
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in 1382. The new style of English miniature painting is distinguished by richness of color, and by the careful modelling of the faces, which compares favorably with the slighter treatment by the contemporary French artists. Similar attention to the features also marks the northern Flemish or Dutch
692:
In the early part of the century, English drawing is very graceful, the figures bending with a waving movement which, if they were not so simple, would be an affectation. Both in the outline specimens, washed with transparent color, and in the fully. painted examples, the best English work of this
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were in favor; and naturally the same subjects and the same scenes ran through the period and were repeated by artist after artist; and the very character of those sacred books would tend to restrain innovation. But towards the close of the period such secular works as the romances were growing in
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School of Miniature Painting headed by Grigor Tatevatsi, after whom Armenian miniature art was continued in the colonies of the Crimea, New Julfa, Constantinople and elsewhere. In the 17th-18th centuries, Armenian book miniature painting gradually gave way to the printing art of book illustration.
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The ritual-church significance of the manuscripts diminished, they were often ordered for personal use, to satisfy the refined taste of the councilors ad their religious feelings. The size of the books decreased, the miniature painters turned more to the depiction of reality and of the neighboring
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The miniatures of the French and Flemish schools run fairly parallel for a time, but after the middle of the century national characteristics become more marked and divergent. The French miniature began to deteriorate, though some very fine examples were produced by the more gifted artists of the
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Entering the 13th century, we reach the period when the miniature may be said to justify the modern false etymology which has connected the title with minuteness. The broad, bold style of the 12th century gives place to the precise and minute. Books in general exchanged their form from the large
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But of natural landscape there is nothing, unless rocks and trees of a stereotyped character can be so regarded. Hence the background of the miniature of the 12th and immediately succeeding centuries became the field for decoration to throw into stronger relief the figures in the scene. And thus
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To compare the work of the three schools, the drawing of the English miniature, at its best, is perhaps the most graceful; the French is the neatest and the most accurate; the Flemish, including that of western Germany, is less refined and in harder and stronger lines. As to colors, the English
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style was freer and more extravagant than Mughal painting, if not as consistent in quality or naturalism. As the Mughals conquered the sultanates over the 17th century, the artists dispersed. A version of the Mughal style spread to princely courts, mostly Hindu, in North India, especially in
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was limited in quantity and had to go further. Handwriting grew smaller and lost the roundness of the 12th century. Contractions and abbreviations in the texts largely increased in number. Everywhere there is an effort to save space. And so with the miniature. Figures were small, with delicate
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Larger miniatures of the Gospels of Lesser Armenia related to Early Christian miniature art in 1038 (Matenadaran after Mesrop Mashtots, Yerevan, manuscript N 6201), preserving old stylistic and pictorial rules, contain novelties that formed the basis of all subsequent Armenian iconography, for
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in the 14th and 15th centuries. It had its effect, too, on the school of northern France, by which it was also influenced in turn. In the manuscripts of southern Germany it is also in evidence. But the principles which have been reviewed as guiding the development of the miniature in the more
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Armenian miniature painting has gone through long and difficult historical paths; it is a witness of Armenian's unparalleled creative zeal, which neither the countless disasters brought by foreign invaders, nor the difficult and torturous migration routes were able to extinguish. With its
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traditions, there is another group of Asian traditions, which is generally more illustrative in nature, and from origins in manuscript book decoration also developed into single-sheet small paintings to be kept in albums, which are also called miniatures, as the Western equivalents in
417:, Grigor, Ignatius, Sargis Pitsak, Toros Taronetsi, Avag, Momik, Simeon Archishetsi, Vardan Artsketsi, Kirakos, Hovhannes, Hakob Jughayetsi and may more have weathered the march of times up to now. Yet names of many other miniature artists have not been preserved.
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important schools apply equally to all. Like the miniature of the Flemish school, the Italian miniature was still worked to some extent with success, under special patronage, even in the 16th century; but with the rapid displacement of the manuscript by the
1056:) owe their existences to Arabic miniatures, as Arab patrons were the first to demand the production of illuminated manuscripts in the Caliphate, it wasn't until the 14th century that the artistic skill reached the non-Arab regions of the Caliphate.
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The influence which the Carolingian school exercised on the miniatures of the southern Anglo-Saxon artists shows itself in the extended use of body-color and in the more elaborate employment of gold in the decoration. Such a manuscript as the
1139:(1565–1635), considered one of the most renowned Persian painters of all time, specialized in the Persian miniature, with a preference for naturalistic subjects. Today his surviving works can be found in many of the major museums of the
406:, each of which, in addition to the general features typical of national art, is characterized by a unique style of miniature painting and local traditions. Later miniature painting centers were established in Armenian colonies as well.
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school to break away more decidedly from the natural presentment of things and to develop artistic conventions. Yet in the best early examples of this school the classical sentiment still lingers, as the relics of the miniatures of the
1332:, and Armenian handwritten books began to be written, together with education, Armenian illuminated miniature developed. Most of the 25,000 Armenian manuscripts handed down to us from different centuries are decorated with miniatures.
1020:, usually book or manuscript illustrations but also sometimes separate artworks that occupy entire pages. The earliest example dates from around 690 AD, with a flourishing of the art from between 1000 and 1200 AD in the
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more practiced in figure-drawing, and while there was still the tendency to repeat the same subjects in the same conventional manner, individual effort produced in this century many miniatures of a very noble character.
757:, were no longer the chief, if not the only, manuscripts which were illuminated. And yet there was one class of manuscript which came into the greatest prominence and which was at the same time liturgical. This was the
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began under Persian influence, and Persian miniatures were keenly collected by the Sultans. A distinctive Ottoman style soon developed, with a greater interest in narrative, and recording the history of the empire.
1247:(16th - 18th centuries) and was generally confined to miniatures either as book illustrations or as single works to be kept in albums. It emerged from the Persian miniature painting tradition introduced to India by
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schools, which, fostered by growing intercourse and moved by common impulses, resulted in the magnificent productions of the illuminators of north-western Europe from the latter part of the 12th century onwards.
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the century asserts itself more decidedly, although with faults in perspective. It was not until another generation had arisen that there was a true appreciation of the horizon and of atmospheric effect.
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originality, mastery of performance, extraordinary color, richness and variety of jewelry, it occupies a unique and honorable place not only in the treasury of national art, but also in the world art.
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be found are of the classical type, not conventional in the sense of medieval conventionalism, but still attempting to follow nature, even if in an imperfect fashion; just as in the Pompeian and other
359:
In Armenian miniatures one can find scenes depicting hunting, animal fighting, theatrical performances, other scenes of urban and rural life, portraits of famous figures of the time, commissioners of
1228:. The Pala miniature paintings not only inspired Nepalese and Tibetan miniature paintings but also inspired Hinduism and Jainism to develop their own miniature painting traditions in later periods.
352:, Armenian manuscripts appeared, and Armenian miniature painting developed together with it. Most of the 25,000 Armenian manuscripts from different centuries are decorated with miniatures.
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It is remarkable how the art of the miniature throughout the 13th century maintains its high quality both in drawing and color without any very striking change. Throughout the century the
363:. Such miniatures are of great importance for the study of the life and lifestyle of medieval Armenia, costumes, manners, crafts, Armenian nature. Some miniature painters also left their
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529:, it is seen that the miniature appears in two forms. First, there is the truly conventional miniature following the Byzantine model, the subjects being generally the portraits of the
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in the ornaments placed before the title or in the pictures made in the margins, in the beautifully decorated letters, they introduced various images and elements of flora and fauna.
184:, which was lost after the Renaissance, but is known from copies. Fragments of some heavily illustrated luxury manuscripts from before about 450 have survived to the modern day. The
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in the late Abbasid era (12th to 13th-centuries), was one of the pre-eminent exponents of the Baghdad school. In 1236-1237, he is known to have transcribed and illustrated the book,
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monarchs there developed a school of painting derived from classical models, chiefly of the Byzantine type. In this school, which owed its origin to the encouragement of
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tradition was heavily influenced by Persia, and began when a group of artists was recruited for India, miniatures having fallen into disfavour in the Persian court of
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school. The figure-drawing was more careless, and the painting tended to hardness without depth, which the artist endeavoured to relieve by an excess of gilt shading.
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sufficiently accounts for the abandonment of art. Thus the history of the miniature in the 15th century must be sought in the manuscripts of the Continental schools.
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831:, in which the absence of color invited an even stronger accentuation of that treatment. This is perhaps most observable in the grisaille miniatures of northern
1401:.Very few fragments of illuminated manuscripts from the 6th and 7th centuries have survived. The oldest fully preserved manuscript dates from the 9th century.
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school at this period and in the early 15th century; and it may therefore be regarded as an attribute of Germanic art as distinguished from the French style.
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The Norman Conquest had brought England directly within the fold of Continental art; and now began that grouping of the French and the English and the
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dated to 985 AD preserved in the University of Cambridge library. The art of Pala illuminated manuscripts developed in Buddhist centers of
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In the foregoing remarks what has been said in regard to the careful treatment of details applies still more to the miniatures executed in
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1097:. The narrative concerns the travels of a middle-aged man as he uses his charm and eloquence to swindle his way across the Arabic world.
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example, the depiction of the naked Christ on the cross. The graphic development of the style of the group of manuscripts is obvious in
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School of Miniature Painting. A group of manuscripts from the late 11th century, led by the Gospel of Moghni, formed the school of
413:, where the miniatures were more luxurious and elegant. Works of such talented miniature artists of different times and centers as
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T. Voronova and A Sterligov, Western European Illuminated Manuscripts (in the St Petersberg Public Library), 2003, Sirocco, London
835:, which often suggest, particularly in the strong angular lines of the draperies, a connection with the art of the wood engraver.
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drawing. This was encouraged by the wider field opened to the miniaturist. Books of all kinds were illustrated, and sacred books,
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has a long tradition of the use of miniatures, both for illustrated books and individual pieces, which were collected in albums (
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923:(which was never illustrated with figurative images) were often decorated with highly elaborate designs of geometric patterns,
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backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting.
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537:. Here there is more freedom; and we trace the classical style which copies Roman, as distinguished from Byzantine, models.
503:, figure-drawing was scarcely known, serving rather as a feature of decoration than as a representation of the human form.
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In the native schools of illumination of Western Europe, decoration only was the leading motive. In the manuscripts of the
237:, an arrangement of horizontal zones was adopted, the upper ones containing figures on a smaller scale than those below.
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Many miniature painting centers operated in Armenia at different times. There are well-known centers, such as those of
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miniature painting styles emerged with influence direct from Persia, and with some from existing Hindu painting. The
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came from further south. By the 18th century the Rajput courts were producing the most innovative Indian painting.
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Despite the considerable changes in Arabic miniature style and technique, even during their last decades, the early
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2144:"The Art of the Mughals before 1600 | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"
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1867:"Review of Qur'ans of the Umayyads: A First Overview (Leiden Studies in Islam & Society), François Déroche"
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world continued what seems to have been a pre-existing tradition of book illustration, while the figurative
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1024:. The art form went through several stages of evolution while witnessing the fall and rise of several
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2004:
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Claude Mutafian (dir.), Arménie, la magie de l'écrit, Somogy, Paris, 2007 (ISBN 978-2-7572-0057-5).
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109:, which did however grow from the same tradition and at least initially used similar techniques.
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The Book of Knowledge of Ingenious Mechanical Devices: Kitáb fí ma'rifat al-hiyal al-handasiyya
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was relatively uncommon, other than figures in practical images such as diagrams. However, in
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One or more of the preceding sentences incorporates text from a publication now in the
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1216:. One of the earliest surviving examples of Buddhist illustrated palm leaf manuscripts is
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Architekturbilder im Koran : eine Prachthandschrift der Umayyadenzeit aus dem Yemen
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in western museums, Arabic miniatures occupy very little space in modern Arab culture.
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to deceive collectors by various persons, one of the most notable forgers being the
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Illuminating the Renaissance – The Triumph of Flemish Manuscript Painting in Europe
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1756:"Research Guides: Medieval Studies and Research: Manuscripts: Art & Techniques"
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and other elements, sometimes as border to text. This is known as "illumination".
766:
2865:
2635:
2531:
2415:
2091:
1589:
1321:
1276:
1272:
1267:
1195:
1191:
754:
705:
574:
507:
345:
200:
134:
83:
2092:"Sanskrit Manuscripts : Prajñāpāramitāstotra, Aṣṭasāhasrikā Prajñāpāramitā"
2005:"الكنوز الضائعة.. هكذا انتقلت أشهر المخطوطات العربية إلى مكتبات العالم المختلفة"
1944:
955:
696:
This revival has been attributed to a connection with the flourishing school of
653:
105:
confusion with minuteness and to its application to small paintings, especially
3279:
2883:
2787:
2782:
2744:
2625:
2315:
Celtic and Anglo-Saxon Painting: Book illumination in the British Isles 600–800
2303:
2115:
Art, Los Angeles County Museum of; Pal, Pratapaditya; Richardson, Hugh (1983).
1411:
1394:
1379:
Illuminated Armenian Gospel with Eusebian canons, 1609, MS. Arm. d.13, fol. 14r
1298:
1248:
1041:
1040:, and at last, got totally assimilated and subsequently disappeared due to the
464:
258:
217:
Of even greater value from an artistic point of view are the miniatures of the
185:
171:
3082:
2711:
309:
3313:
2721:
2042:
1890:
1851:
1553:. Vol. 18 (11th ed.). Cambridge University Press. pp. 523–528.
1544:
1534:
1244:
1140:
792:
762:
725:
500:
468:
364:
282:
253:
178:
The earliest extant miniatures are a series of uncolored pen drawings in the
113:
2928:
2420:
Manuscript Illumination in the Modern Age : Recovery and Reconstruction
2381:
Persian Miniature Painting, and its Influence on the Art of Turkey and India
2118:
Art of Tibet: A Catalogue of the Los Angeles County Museum of Art Collection
1692:
The Turco-Mongol Invasions and the Lords of Armenia in the 13-14th Centuries
1178:
as one of the masterpieces of the intangible cultural heritage of humanity.
2943:
2792:
1970:
1386:
1279:
covers a number of small courts in the foothills of the Himalayas, and the
1252:
781:
557:
414:
218:
102:
39:
1980:
1882:
1320:
Armenian miniature is notable for its variety of styles and schools. When
3245:
3205:
3041:
3031:
2968:
2701:
2691:
2645:
2578:
2573:
2518:
2510:
2341:
1927:
1256:
1209:
1144:
1136:
1118:
1033:
1029:
916:
857:
526:
522:
496:
480:
472:
271:
2050:
2030:
1898:
1866:
1063:
Arab influence could still be noticed. Arabic miniature artists include
459:
370:
3003:
2984:
2923:
2797:
2777:
2762:
2676:
2630:
2546:
2523:
1175:
1163:
1101:
908:
515:
511:
434:
403:
360:
325:
30:
1044:
occupation of the Arab world. Nearly all forms of Islamic miniatures (
3231:
3183:
3147:
Pehlevanliq culture: traditional zorkhana games, sports and wrestling
3122:
2989:
2901:
2860:
2716:
2706:
2563:
2439:
1841:
1132:
1025:
966:
924:
828:
789:
618:
601:
409:
Armenian miniature art flourished in the 13th century, especially in
896:
3036:
2963:
2938:
2916:
2911:
2837:
2817:
2736:
2650:
2460:
Kurzinventar der illuminierten Handschriften in Stift Stams/Austria
1236:
1212:
miniature painting was introduced in India by painting on Buddhist
1013:
869:
864:
832:
662:
585:
488:
267:
87:
79:
3137:
making and sharing tradition, a marker of cultural identity (2017)
2455:
Brief Inventory of Illuminated Manuscripts in Herzogenburg/Austria
2317:. Chatto & Windus, London (New York: George Braziller), 1977.
803:
Miniature from the Missale Cisterciense (Wolfgang Missale) in the
721:
3293:
3289:
3275:
3011:
2953:
2933:
2822:
2696:
2620:
2593:
2551:
1333:
1221:
1123:
1076:
975:
880:
808:
750:
681:
646:
545:
484:
387:
294:
163:
101:. The generally small scale of such medieval pictures has led to
98:
2310:. Chatto & Windus, London (New York: George Braziller) 1977.
1578:
The Armenian Miniature — Collection of the Matenadaran (Yerevan)
1565:
The Armenian Miniature — Collection of the Matenadaran (Yerevan)
1352:
Four gospels, in Armenian, illuminated manuscript on paper, Iran
3176:
3163:
3094:
2640:
2464:
2427:
The Revival of Mediaeval Illuminating in the Nineteenth Century
2338:
Chatto & Windus, London (New York, George Braziller), 1977.
2069:
1624:
Armenia sacra — Mémoire chrétienne des Arméniens of IV-XVIII c.
1200:
1171:
1159:
1148:
1005:
729:
697:
649:'s daughter. From the Breviary of Chertsey Abbey, 14th century.
626:
622:
549:
425:
344:
stands out with its variety of styles and schools. When in 405
298:
290:
222:
211:
193:
52:
47:
2479:
2469:
995:
Various examples of pages from Arabic illuminated manuscripts.
3285:
3251:
3134:
1719:), Yerevan State University Publishing, Yerevan, 1976, p.322.
1017:
920:
785:
746:
677:
642:
625:
and smaller sizes. There was a greater demand for books; and
534:
492:
447:
391:
337:
An Armenian manuscript by Malnazar from Gospel of 1637 - 1638
286:
205:
167:
94:
65:
35:
3221:, a symbol of identity, hospitality and social interaction (
2655:
2465:
Unlocking the Secrets of Medieval Painters and Illuminators
2205:(trans fr German), 1986, Harvey Miller Publishers, London,
1365:
Page from Armenian bible illuminated by T'oros Roslin, 1256
1167:
375:
3084:
UNESCO Intangible Cultural Heritage elements in Azerbaijan
3218:
1329:
438:
383:
153:
2286:
McKendrick, Scot; Lowden, John; Doyle, Kathleen, (eds),
1389:, who lived in 13th century. The art form flourished in
27:
Picture in an ancient or medieval illuminated manuscript
2667:
2429:(KADOC Artes, 9), University Press Leuven, 2007, 336 p.
1717:
Emient Figures in Armenian Culture of V-XVIII centuries
849:
Book of Hours (Milan, Biblioteca Trivulziana, Cod. 470)
475:
style of illumination: decorative and not illustrative.
188:
was mostly destroyed by fire in London in 1731 and the
3143:, traditional pomegranate festivity and culture (2020)
1255:
in the mid 16th century. It soon moved away from its
1239:
receiving his two sons, an album-painting of c 1605-06
847:
Miniature of the Annuciation to the Shepherds, from a
2445:
British Library, Catalogue of Illuminated Manuscripts
2141:
1340:; they illustrate its spiritual and cultural values.
1093:), a series of anecdotes of social satire written by
872:
the miniaturist's occupation was brought to a close.
863:
The Italian style was followed in the manuscripts of
233:.) Again, for the purpose of securing something like
3125:, making and wearing women's silk headscarves (2014)
2348:, Ithaca, New York: Cornell University Press, 1982,
2252:
Byzantine Illuminated Manuscripts of the Book of Job
2219:(Codices Illustres); pp 350–3; 2005, Taschen, Köln;
2247:. Ithaca, New York: Cornell University Press, 1983.
1576:Emma Korkhmazian, Gravard Akopian, Irina Drampian,
1563:Emma Korkhmazian, Gravard Akopian, Irina Drampian,
1309:
1243:Mughal painting developed during the period of the
2308:Late Antique and Early Christian Book Illumination
1802:"Islamic Miniature Painting and Book Illumination"
1713:Հայ մշակոիյթի նշանավոր գործիչները, V - XVIII դարեր
1622:Jannic Durand, Ioanna Rapti et Dorota Giovannoni,
1069:Book of Knowledge of Ingenious Mechanical Devices,
1306:was also extensively used on court manuscripts.
3311:
3208:and traditional production of silk for weaving (
2422:, Evanston : Northwestern University, 2001.
2114:
1972:Art, Awakening, and Modernity in the Middle East
1650:, Bibliothèque nationale de France, Paris, 2007
1432:Book of Job in Byzantine illuminated manuscripts
811:, 1493, well after printed books were available.
2231:Medieval Illuminators and their Methods of Work
1772:
1696:http://rbedrosian.com/dissert.html%7Ctexte=Ph.D
199:There are also colored miniatures cut from the
1736:, Wayne State University Press, Détroit, 2005
596:
82:) is a small illustration used to decorate an
3068:
2495:
2288:Royal Manuscripts, The Genius of Illumination
838:
454:
97:having been miniated or delineated with that
2450:Initiale – Catalogue de manuscrits enluminés
2276:, Getty Museum/Royal Academy of Arts, 2003,
1275:, where several different styles developed.
463:This lavishly decorated text that opens the
154:Italy and Byzantium, 3rd–6th centuries
3195:, epic culture, folk tales and music (2018)
2994:
2148:The Met's Heilbrunn Timeline of Art History
2028:
1815:(10): 166–171. October 1933. Archived from
1567:, Art Edition Aurora, Léningrad, 1984, p.7.
919:luxury manuscripts, including those of the
491:or Franco-Lombardic, in the manuscripts of
293:in the churches of Italy, such as those at
3075:
3061:
2502:
2488:
2425:Thomas Coomans & Jan De Maeyer (ed.),
2029:Thābit, Mahmūd; Albin, Michael W. (1977).
1809:Bulletin of the Metropolitan Museum of Art
1661:
1538:
1204:Bengal Folio Painting, early 12th century.
487:and northern Italy, and which is known as
374:Saint Mathew by Hakob of Julfa, Gospel of
3114:Craftsmanship and performance art of the
1698:. Dissertation, Columbia University,2008.
1521:
1519:
1517:
1515:
1513:
1511:
1509:
1507:
1505:
1503:
1501:
1499:
1497:
1495:
1493:
1491:
1489:
192:mostly destroyed in the Middle Ages, the
3254:and its socio-cultural traditions (2023)
2272:Kren, T. & McKendrick, Scot (eds),
2031:"The Tragedy of Arabic Manuscripts, (1)"
1734:From the Sixth to the Eighteenth Century
1626:, Somogy / Musée du Louvre, Paris, 2007
1487:
1485:
1483:
1481:
1479:
1477:
1475:
1473:
1471:
1469:
1460:Transactions of the Philological Society
1450:
1385:The most famous Armenian miniaturist is
1230:
1199:
879:
842:
798:
771:
711:
652:
636:
600:
539:
458:
369:
332:
324:
316:
308:
261:, and the best of the miniatures of the
239:
157:
93:; the simple illustrations of the early
29:
2408:
1839:
1794:
244:Miniature of seven physicians from the
148:
125:and other media are not. These include
14:
3325:Iconography of illuminated manuscripts
3312:
3175:Flatbread making and sharing culture:
2166:
1916:
1864:
1580:, Art Edition Aurora, Léningrad, 1984.
483:period, in the school which connected
304:
3056:
2483:
2336:Early Spanish Manuscript Illumination
1968:
1645:Livres d'Arménie — Collections de la
1637:
1583:
1466:
556:, 10th century, is an example of the
3237:Craftsmanship and performing art of
2322:Manuscripts from the Anglo-Saxon Age
2245:Illuminated Books of the Middle Ages
2215:Walther, Ingo F. and Wolf, Norbert,
2203:Book Illumination in the Middle Ages
1539:Williamson, George Charles (1911). "
661:, a key work in the late history of
641:A capital S contains a miniature of
577:this remarkable native school died.
2383:, 1983, University of Texas Press,
2179:from the original on April 19, 2021
1969:Esanu, Octavian, ed. (2017-11-22).
1730:The Heritage of Armenian Literature
930:
875:
313:Ejmiadzin Gospel, 6th-7th centuries
203:, an illustrated manuscript of the
24:
2266:
2121:. University of California Press.
1905:
1833:
1753:
720:illustrated by a miniature of the
25:
3341:
3244:Craftsmanship of mother of pearl
3182:Art of crafting and playing with
3121:Traditional art and symbolism of
2433:
1674:, Toulouse: Privat, 2007, p. 289
1286:
1008:: الْمُنَمْنَمَات الْعَرَبِيَّة,
597:Europe, 13th–15th centuries
2666:
2470:Central Asian miniature painting
2418:, Nina Rowe & Rowan Watson,
1647:Bibliothèque nationale de France
1526:
1371:
1357:
1345:
1316:Armenian illuminated manuscripts
1310:Armenian illuminated manuscripts
985:
974:
965:
954:
945:
839:Italy, 13th–15th centuries
510:school, developed especially at
455:Europe, 8th–12th centuries
3296:), traditional group dances of
2509:
2160:
2135:
2108:
2084:
2057:
2022:
1997:
1962:
1937:
1932:Springer Science+Business Media
1858:
1747:
1722:
1701:
1684:
1336:illuminated manuscripts embody
471:, early 9th century, shows the
3179:, Katyrma, Jupka, Yufka (2016)
2369:, 1993, British Museum Press,
1945:"Baghdad school – Islamic art"
1616:
1607:
1570:
1557:
1444:
1162:declared the miniature art of
567:Benedictional of St. Æthelwold
554:Benedictional of St. Æthelwold
13:
1:
3129:Copper craftsmanship of Lahij
2397:, Thames & Hudson, 1976,
2346:Romanesque Bible Illumination
2195:
1028:. Arab miniaturists absorbed
666:
657:The month February. From the
2475:Armenian miniatures (photos)
2359:
2233:; p. 9, Yale UP, 1992,
2217:Masterpieces of Illumination
1594:Arménie, la magie de l'écrit
1425:Commentary on the Apocalypse
1404:
1218:Aṣṭasāhasrikā Prajñāpāramitā
905:objections to figurative art
788:among the doctors. From the
495:, in the productions of the
7:
3269:Need of Urgent Safeguarding
2559:Canons of page construction
2142:Department of Islamic Art.
1871:Journal of Qur'anic Studies
1672:Histoire du peuple arménien
1417:
1100:With most surviving Arabic
342:Armenian miniature painting
10:
3346:
3109:Azerbaijani carpet weaving
1840:von Bothmer, Hans-Caspar.
1313:
1290:
1188:Indian miniature paintings
1185:
1153:Metropolitan Museum of Art
1111:
1107:
1067:, who illustrated his own
1036:influences brought by the
1010:Al-Munamnamāt al-ʿArabīyah
934:
190:Quedlinburg Itala fragment
3268:
3156:
3090:
2977:
2892:
2851:
2753:
2735:
2687:Anthropodermic bibliopegy
2675:
2664:
2517:
2395:Royal Persian Manuscripts
2324:, 2007, British Library,
2290:, 2011, British Library,
2169:"Forging Islamic Science"
2096:Cambridge Digital Library
665:illuminated manuscripts,(
321:Miniature of 13th century
3027:Intentionally blank page
2250:Papadaki-Oekland Stella,
2167:Shafir, Nir (May 2019).
1437:
1181:
1075:, who probably lived in
1071:and the Abbasid artist,
769:of the Parisian school.
378:(Matenadaran, Ms. 7639).
252:It was reserved for the
174:, 5th–6th century.
112:Apart from the Western,
3320:Illuminated manuscripts
1550:Encyclopædia Britannica
1208:Under the patronage of
196:used in bookbindings.
2995:
1926:, transl. & anno.
1865:Dutton, Yasin (2016).
1782:. The David Collection
1596:, Somogy, Paris, 2007
1456:"On False Etymologies"
1240:
1205:
900:
852:
812:
796:
733:
673:
650:
613:
561:
476:
379:
338:
330:
322:
314:
289:is obvious. The early
249:
175:
91:illuminated manuscript
57:
3230:Telling tradition of
1981:10.4324/9781315121970
1883:10.3366/jqs.2016.0227
1297:The tradition of the
1234:
1214:palm leaf manuscripts
1203:
883:
846:
802:
775:
715:
656:
640:
604:
543:
462:
373:
336:
328:
320:
312:
243:
161:
33:
18:Illuminated miniature
2409:19th-century revival
2393:Welch, Stuart Cary.
2320:Brown, Michelle P.,
2229:Jonathan Alexander;
1951:. www.britannica.com
1780:"Miniature Painting"
1643:Annie Vernay-Nouri,
1304:Ottoman illumination
795:, late 15th century.
571:bishop of Winchester
285:on that of medieval
248:, early 6th century.
149:Christian traditions
3282:-riding game (2013)
3192:Book of Dede Gorgud
3107:Traditional art of
2440:Digital Scriptorium
2243:Calkins, Robert G.
1452:Wedgwood, Hensleigh
1085:(also known as the
1038:Mongol destructions
645:being found by the
305:Armenian miniatures
231:painter's algorithm
227:Vergilius Vaticanus
107:portrait miniatures
56:, early 5th century
3330:Miniature painting
3095:Azerbaijani mugham
3022:Fore-edge painting
3017:Extra-illustration
2379:Titley, Norah M.,
2365:Canby, Sheila R.,
2313:Nordenfalk, Carl.
2173:American Scientist
2065:"Art of miniature"
1754:Mihram, Danielle.
1728:Agop J. Hacikyan,
1690:Robert Bedrosian,
1241:
1206:
1095:Al-Hariri of Basra
1050:Ottoman miniatures
1046:Persian miniatures
1026:Islamic caliphates
901:
885:Yusuf and Zulaikha
853:
813:
805:Rein Abbey Library
797:
734:
674:
651:
614:
610:Guillebert de Mets
562:
477:
380:
339:
331:
329:Miniature by Momik
323:
315:
263:Vienna Dioscurides
250:
246:Vienna Dioscurides
214:of the Roman age.
181:Chronograph of 354
176:
72:, "to colour with
58:
46:, a manuscript of
3307:
3306:
3102:Azerbaijani ashiq
3050:
3049:
2929:Addendum/Appendix
2813:Table of contents
1990:978-1-315-12197-0
1912:La Peinture arabe
1760:libguides.usc.edu
1732:, vol. II :
1656:978-2-7177-2375-5
1632:978-2-7572-0066-7
1602:978-2-7572-0057-5
1399:Armenian Diaspora
1293:Ottoman miniature
1264:Deccan sultanates
1114:Persian miniature
1054:Mughal miniatures
1022:Abbasid caliphate
1002:Arabic miniatures
907:, Persia and the
739:Wars of the Roses
607:Roman de Mélusine
544:Miniature of the
281:The influence of
127:Arabic miniatures
44:Vergilius Romanus
16:(Redirected from
3337:
3278:, a traditional
3234:anecdotes (2022)
3189:Heritage of the
3077:
3070:
3063:
3054:
3053:
2998:
2727:Treasure binding
2670:
2504:
2497:
2490:
2481:
2480:
2414:Sandra Hindman,
2367:Persian Painting
2334:Williams, John,
2189:
2188:
2186:
2184:
2164:
2158:
2157:
2155:
2154:
2139:
2133:
2132:
2112:
2106:
2105:
2103:
2102:
2088:
2082:
2081:
2079:
2077:
2061:
2055:
2054:
2026:
2020:
2019:
2017:
2016:
2001:
1995:
1994:
1966:
1960:
1959:
1957:
1956:
1941:
1935:
1920:
1914:
1909:
1903:
1902:
1862:
1856:
1855:
1837:
1831:
1830:
1828:
1827:
1821:
1806:
1798:
1792:
1791:
1789:
1787:
1776:
1770:
1769:
1767:
1766:
1751:
1745:
1726:
1720:
1705:
1699:
1688:
1682:
1665:
1659:
1641:
1635:
1620:
1614:
1611:
1605:
1587:
1581:
1574:
1568:
1561:
1555:
1554:
1532:
1530:
1529:
1523:
1464:
1463:
1448:
1375:
1361:
1349:
1338:Armenian culture
1326:Armenian letters
1129:Mughal miniature
1065:Ismail al-Jazari
989:
978:
969:
958:
949:
937:Arabic miniature
931:Arabic tradition
913:Arabic miniature
903:Despite Islam's
895:), miniature by
876:Other traditions
755:liturgical books
671:
668:
659:Grimani Breviary
531:Four Evangelists
411:Cilician Armenia
350:Armenian letters
143:Indian offshoots
21:
3345:
3344:
3340:
3339:
3338:
3336:
3335:
3334:
3310:
3309:
3308:
3303:
3264:
3232:Molla Nasraddin
3152:
3086:
3081:
3051:
3046:
2973:
2888:
2884:Tipped-in pages
2847:
2828:Acknowledgments
2749:
2731:
2678:
2671:
2662:
2636:Recto and verso
2522:
2513:
2508:
2436:
2416:Michael Camille
2411:
2362:
2304:Weitzmann, Kurt
2269:
2267:Further reading
2198:
2193:
2192:
2182:
2180:
2165:
2161:
2152:
2150:
2140:
2136:
2129:
2113:
2109:
2100:
2098:
2090:
2089:
2085:
2075:
2073:
2063:
2062:
2058:
2027:
2023:
2014:
2012:
2003:
2002:
1998:
1991:
1967:
1963:
1954:
1952:
1943:
1942:
1938:
1921:
1917:
1910:
1906:
1863:
1859:
1838:
1834:
1825:
1823:
1819:
1804:
1800:
1799:
1795:
1785:
1783:
1778:
1777:
1773:
1764:
1762:
1752:
1748:
1727:
1723:
1706:
1702:
1694:, 1979, p.156.
1689:
1685:
1666:
1662:
1642:
1638:
1621:
1617:
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162:Miniature of
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37:
34:Miniature of
32:
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3259:illumination
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3209:
3190:
3167:
2944:Bibliography
2833:Introduction
2793:Nihil obstat
2773:Frontispiece
2755:Front matter
2615:
2589:Illumination
2426:
2419:
2394:
2380:
2366:
2345:
2342:Cahn, Walter
2335:
2321:
2314:
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2201:Otto Pächt,
2181:. Retrieved
2172:
2162:
2151:. Retrieved
2147:
2137:
2117:
2110:
2099:. Retrieved
2095:
2086:
2074:. Retrieved
2068:
2059:
2034:
2024:
2013:. Retrieved
2011:. 2017-08-30
2008:
1999:
1971:
1964:
1953:. Retrieved
1948:
1939:
1923:
1918:
1911:
1907:
1874:
1870:
1860:
1842:
1835:
1824:. Retrieved
1817:the original
1812:
1808:
1796:
1784:. Retrieved
1774:
1763:. Retrieved
1759:
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1733:
1729:
1724:
1716:
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1387:Toros Roslin
1384:
1378:
1364:
1319:
1296:
1261:
1253:Abd al-Samad
1242:
1235:The Emperor
1210:Pala Dynasty
1207:
1157:
1122:
1117:
1099:
1090:
1086:
1080:
1068:
1058:
1012:) are small
1009:
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870:printed book
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814:
784:discovering
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415:Toros Roslin
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348:created the
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216:
204:
198:
179:
177:
129:, and their
111:
103:etymological
73:
69:
61:
59:
51:
40:Trojan Horse
3217:Culture of
3206:Sericulture
3141:Nar Bayrami
3042:Thumb index
3008:Die-cutting
2969:Author page
2894:Back matter
2853:Body matter
2702:Dust jacket
2692:Bookbinding
2679:back covers
2646:Rubrication
2599:Historiated
2519:Page layout
2511:Book design
2076:19 December
1922:al-Jazari,
1786:30 December
1145:Smithsonian
1137:Reza Abbasi
1119:Persian art
1102:manuscripts
917:Islamic art
858:Renaissance
732:, c. 1470s.
724:, from the
716:The prayer
670: 1515
558:Anglo-Saxon
527:Charlemagne
523:Carolingian
508:Anglo-Saxon
497:Insular art
481:Merovingian
396:Nakhichevan
361:manuscripts
272:Middle Ages
235:perspective
170:, from the
42:, from the
3314:Categories
3298:Nakhchivan
3004:Book rhyme
2985:Book curse
2924:Postscript
2907:Conclusion
2803:Dedication
2798:Imprimatur
2778:Title page
2763:Half-title
2677:Front and
2631:Pull quote
2532:Annotation
2524:typography
2403:0500270740
2389:0292764847
2354:0801414466
2196:References
2153:2018-02-02
2101:2018-06-02
2035:MELA Notes
2015:2022-05-27
1955:2022-05-23
1949:Britannica
1930:. (1973),
1826:2022-06-26
1765:2022-05-27
1176:Uzbekistan
1164:Azerbaijan
1087:Assemblies
925:arabesques
909:Persianate
891:chased by
718:obsecro te
702:Richard II
605:Miniature
521:Under the
516:Winchester
512:Canterbury
435:Vaspurakan
404:Vaspurakan
141:and other
123:watercolor
64:(from the
3200:miniature
3123:kelaghayi
2996:ex-librīs
2990:Bookplate
2902:Afterword
2861:Body text
2737:Endpapers
2717:Paperback
2707:Hardcover
2616:Miniature
2604:Inhabited
2584:Headpiece
2564:Catchword
2183:April 20,
2043:0364-2410
2009:ساسة بوست
1891:1465-3591
1852:258068564
1541:Miniature
1428:by Beatus
1405:Forgeries
1158:In 2020,
1133:Tahmasp I
1014:paintings
829:grisaille
790:Enkhuizen
552:from the
489:Lombardic
485:Frankland
254:Byzantine
114:Byzantine
62:miniature
3184:kamancha
3037:Slipcase
2964:Postface
2959:Colophon
2939:Glossary
2934:Endnotes
2912:Epilogue
2879:Sections
2866:Chapters
2838:Prologue
2818:Foreword
2808:Epigraph
2651:Typeface
2621:Ornament
2537:Footnote
2177:Archived
2051:29785032
1899:44031130
1744:, p.186.
1592:(dir.),
1462:(6): 70.
1454:(1855).
1418:See also
1397:and the
1334:Armenian
1324:created
1237:Jahangir
1151:and the
1127:). The
1091:Sessions
865:Provence
833:Flanders
751:Psalters
680:and the
268:cloister
212:frescoes
166:meeting
118:Armenian
88:medieval
80:red lead
38:and the
3294:tenzere
3290:kochari
3276:Chovgan
3257:Art of
3239:balaban
3227:· 2022)
3214:· 2022)
3198:Art of
3172:· 2009)
3100:Art of
3032:Pop-ups
3012:Endband
2823:Preface
2745:Marbled
2712:Leather
2697:Buckram
2594:Initial
2552:Scholia
2360:Persian
1658:, p.55.
1547:(ed.).
1537::
1124:muraqqa
1108:Persian
1089:or the
1082:Maqamat
1077:Baghdad
1061:Umayyad
1042:Ottoman
1034:Persian
1030:Chinese
899:, 1488.
809:Austria
682:Psalter
672:-1520).
663:Flemish
647:Pharaoh
621:to the
612:, 1410.
586:Flemish
560:school.
546:baptism
499:of the
473:Insular
467:in the
426:Gospels
400:Artsakh
388:Gladzor
295:Ravenna
291:mosaics
219:Vatican
164:Abraham
139:Ottoman
131:Persian
99:pigment
95:codices
84:ancient
70:miniare
3300:(2018)
3261:(2023)
3248:(2023)
3241:(2023)
3202:(2020)
3186:(2017)
3177:Lavash
3164:Novruz
3157:Shared
3149:(2022)
3131:(2015)
3118:(2012)
3111:(2010)
3104:(2009)
3097:(2008)
2954:Errata
2641:Rubric
2611:Margin
2579:Header
2574:Footer
2569:Column
2401:
2387:
2373:
2352:
2328:
2294:
2280:
2258:
2237:
2223:
2209:
2125:
2070:UNESCO
2049:
2041:
1987:
1897:
1889:
1850:
1740:
1709:et al.
1678:
1654:
1630:
1600:
1543:". In
1531:
1226:Bengal
1194:, and
1172:Turkey
1160:UNESCO
1149:Louvre
1147:, the
1006:Arabic
897:Behzād
889:Joseph
782:Joseph
747:Bibles
730:Angers
698:Prague
627:vellum
623:octavo
550:Christ
299:Venice
223:Virgil
194:vellum
168:angels
135:Mughal
75:minium
53:Aeneid
48:Virgil
3286:Yalli
3252:Iftar
3246:inlay
3224:Azeri
3211:Azeri
3169:Azeri
3135:Dolma
2949:Index
2917:Outro
2875:Parts
2542:Gloss
2047:JSTOR
1895:JSTOR
1820:(PDF)
1805:(PDF)
1438:Notes
1222:Bihar
1182:India
1018:paper
921:Quran
807:from
786:Jesus
761:, or
759:Horae
722:pietà
704:with
678:Bible
643:Moses
619:folio
535:Bible
493:Spain
448:Tatev
392:Tatev
287:Italy
206:Iliad
78:", a
68:verb
66:Latin
36:Sinon
2656:Font
2521:and
2399:ISBN
2385:ISBN
2371:ISBN
2350:ISBN
2326:ISBN
2292:ISBN
2278:ISBN
2256:ISBN
2235:ISBN
2221:ISBN
2207:ISBN
2185:2021
2123:ISBN
2078:2020
2039:ISSN
1985:ISBN
1887:ISSN
1848:OCLC
1788:2017
1738:ISBN
1676:ISBN
1652:ISBN
1628:ISBN
1598:ISBN
1251:and
1224:and
1174:and
1168:Iran
1052:and
1032:and
780:and
778:Mary
753:and
749:and
514:and
506:The
424:The
376:1610
297:and
116:and
3219:tea
3116:tar
1977:doi
1879:doi
1330:405
1328:in
1135:.
1016:on
728:of
548:of
439:Ani
384:Ani
86:or
50:'s
3316::
3292:,
2344:,
2306:.
2254:,
2175:.
2171:.
2146:.
2094:.
2067:.
2045:.
2033:.
2007:.
1983:.
1947:.
1893:.
1885:.
1875:18
1873:.
1869:.
1846:.
1813:28
1811:.
1807:.
1758:.
1711:,
1670:,
1468:^
1458:.
1414:.
1393:,
1190:,
1170:,
1166:,
1155:.
1048:,
667:c.
569:,
402:,
398:,
394:,
390:,
386:,
367:.
274:.
145:.
137:,
133:,
60:A
3288:(
3166:(
3076:e
3069:t
3062:v
2503:e
2496:t
2489:v
2262:.
2187:.
2156:.
2131:.
2104:.
2080:.
2053:.
2018:.
1993:.
1979::
1958:.
1934:.
1901:.
1881::
1854:.
1829:.
1790:.
1768:.
1715:(
1634:.
1604:.
1004:(
887:(
851:.
20:)
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