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the
Timurid dynasty in Central Asia and eastern Iran and the Mamluk rulers of Egypt and Syria. According to Tahera H. Tajbhai "his skillful designs makes his style immediately recognizable, signaling him out as one of the leading Veneto-Saracenic craftsmen. His style adopted new innovative style whilst still retaining elements of Mamluk tradition."
70:
Only 13 objects, 12 of which carry his full name and one without his nisba (the Kurd), have survived. They are preserved in the
British Museum, The Victoria and Albert Museum in London, and the Hermitage Museum in St. Petersburg. He usually signed his name on his pieces in Arabic and Latin script as
53:
The location of Mahmud's workshop is disputed. It is believed that he immigrated to Venice where he lived and set up a workshop in the second half of the 15th century and introduced oriental metalwork into Venice. However, some scholars have questioned the thesis that Muslim artists have worked in
49:
Mahmud's work include several stylistic sub-groups, which have in common the frequent use of
European shapes combined with a new style of linear silver inlay displaying an unconventional style of arabesque. Their decoration displays affinities with that on metalwork made during the same period for
58:, they suggest that they produced their objects in their home countries and exported them to Europe. Therefore, there are two more alternative theories proposed based on Mahmdu's style of work, some scholars suggest that his work is originated from
301:
318:
Muslim brassworkers like Mu`allim Mahmud al - Kurdi, Zayn al - Din, and others who shortly after 1500 manufactured and signed ' all ' Azimina " vessels in Venice where, however, their style soon underwent a
62:
lands in eastern
Anatolia or western Iran, while others argue that there is no visual evidence for a connection between the Veneto-Saracenic and Iranian or Aq Qoyunlu homologues, and they place his work in
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Some of the immortal names of those masters of art who came to Venice are Mahmud - al - Kurdi, Zainuddin ' Omar, Qasim, Habibullah - Ibn - Ali
Baharjani and Alauddin Birjandi
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Bloom, Professor of
Islamic Art Jonathan M.; Bloom, Jonathan; Blair, Sheila S.; Blair, Sheila (2009-05-14).
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283:"A Fearsome Beauty: Material and Cultural Exchange between Venice and the Islamic Near East"
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Trade and
Discovery: The Scientific Study of Artefacts from Post-Medieval Europe and Beyond
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Mahmud al - Kurdi, the best known of the
Iranian craftsmen recorded as active in Venice
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Behrens-Abouseif, Doris (2005). "'Veneto-Saracenic
Metalware, a Mamluk Art.'".
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Mahmud is regarded as one of the founders of an artistic style which is termed
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Auld, Sylvia. ""Master Mahmud and Inlaid. Metalwork in the 15th
Century,"".
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Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set
364:
Bibliography of Art and Architecture in the Islamic World (2 vol. set)
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Necipoğlu, Gülru; Behrens-Abouseif, Doris; Contadinia, Anna (2004).
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Renaissance Venice, Islam and Mahmud the Kurd: A Metalworking Enigma
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Renaissance Venice, Islam and Mahmud the Kurd: A Metalworking Enigma
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Stealing from the Saracens: How Islamic Architecture Shaped Europe
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Islamic Art in Context: Art, Architecture, and the Literary World
411:. Courtauld Institute of Art, University of London. p. 24.
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HALI: The International Journal of Oriental Carpets and Textiles
71:"mu'allim mahmud al kurdi", which means master Mahmud the Kurd.
652:. Courtauld Institute of Art, University of London. p. 24.
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31:
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Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600
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artist, craftsman and designer of the late medieval era.
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The Gambier-Parry Collection: Provisional Catalogue 1967
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The Gambier-Parry Collection: Provisional Catalogue 1967
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Venice and the Islamic World. Ed. Carboni. 2.18-19. 39
530:. Department of Scientific Research, British Museum.
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214:. Altajir World Of Islam Trust. pp. 9, 63, 81.
391:
Proceedings of the Society of Antiquaries of London
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331:Ahmad, Ziauddin; Suleri, Ziauddin Ahmad (1994).
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598:. Yale University Press. pp. 218, 328–30.
479:Staff, Abrams, Harry N.; Irwin, Robert (1997).
129:. University of California Press. p. 142.
553:"The Jalayirid Connection in Mamluk Metalware"
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303:Islamic Art and Archaeology: Collected Papers
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505:: CS1 maint: multiple names: authors list (
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388:London, Society of Antiquaries of (1906).
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458:. Oxford University Press. p. 233.
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334:Influence of Islam on World Civilization
646:Galleries, Courtauld Institute (1967).
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405:Galleries, Courtauld Institute (1967).
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595:Venice and the Islamic World, 828-1797
551:Behrens-Abouseif, Doris (2009-01-01).
431:. Yale University Press. p. 218.
428:Venice and the Islamic World, 828-1797
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46:(Venetian-Islamic) by art historians.
22:(also Mahmud al-Kurdi, Master Mahmud,
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287:School of Arts & Sciences Theses
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685:Asian objects in the British Museum
337:. Royal Book Company. p. 255.
306:. Gebr. Mann Verlag. p. 1157.
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171:. Altajir World Of Islam Trust.
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361:Sinclair, Susan (2012-04-03).
300:Ettinghausen, Richard (1984).
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394:. The Society. p. 378.
16:15th-century Kurdish artist
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625:. OUP USA. p. 392.
367:. BRILL. p. 408.
522:Gaimster, David R. M.
264:Mamluk Studies Review
241:. BRILL. p. 52.
208:Auld, Sylvia (2004).
165:Auld, Sylvia (2004).
30:) was a 15th-century
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67:in Egypt or Syria.
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524:(1995).
123:(2002).
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