| Record ID | marc_columbia/Columbia-extract-20221130-004.mrc:97858226:3003 |
| Source | marc_columbia |
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LEADER: 03003fam a22003978a 4500
001 1572850
005 20220608191931.0
008 940720t19941994njua b 001 0 eng
010 $a 94030558
020 $a1560001976
035 $a(OCoLC)30914026
035 $a(OCoLC)ocm30914026
035 $9AKG0779CU
035 $a(NNC)1572850
035 $a1572850
040 $aDLC$cDLC$dOrLoB$dOrLoB
043 $aa-ir---
050 00 $aND3241$b.B77 1994
082 00 $a745.6/7/0955$220
100 1 $aBronstein, Léo.$0http://id.loc.gov/authorities/names/n79073587
245 10 $aSpace in Persian painting /$cLeó Bronstein.
260 $aNew Brunswick, N.J. :$bTransaction Publishers,$c[1994], ©1994.
263 $a9410
300 $axiii, 128 pages :$billustrations ;$c27 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
520 $aHow does space in Persian painting differ from space in other arts? Leo Bronstein's answer is an astonishing feat: world history neither summarized nor abbreviated but seen - in the plates themselves and in the kinds of space they illustrate. Into the arts, from the Paleolithic to Miro, the author's insights are as unpredictable as they are rewarding.
520 8 $aAmong many surprises are: the crucial historic relevance of the escapement mechanism in clocks; the significance to art of the Greek "awareness of 'my body' as a separate being, separated from me"; the reasons why the West discovered the machine and the East did not. Basic to the entire book is the distinction between "art-mobility" and "art stability," the one "based on an object-block, object-'monster,'" the other on "clear, seriated, visually observable space." "The artistic destiny of both Europe and Asia," Leo Bronstein shows us, "is made of the interaction of the two basal and formative currents: 'mobile' art-mimic and 'stable' art-narration." "His remarkable vision of space 'inward' and 'mobile,'" writes Talat S.
520 8 $aHalman in his foreword to the book, "is likely to stimulate debate in art historical circles for a very long time.".
520 8 $a"Space in Persian Painting," Halman continues, "as may be expected from the author's overarching intellect, extends far beyond the scope of its title. It treats 'space' not as a mere element or dimension, but as the terra firma of visual creativity. By the same token, 'Persian' functions as a synecdoche for Islamic art in general. 'Painting' is to be understood as a metaphor for the venture of all art."
650 0 $aIllumination of books and manuscripts, Iranian.$0http://id.loc.gov/authorities/subjects/sh85064362
650 0 $aIslamic illumination of books and manuscripts$zIran.$0http://id.loc.gov/authorities/subjects/sh2008123013
650 00 $aSpace (Art)$0http://id.loc.gov/authorities/subjects/sh85125909
650 00 $aPerception.$0http://id.loc.gov/authorities/subjects/sh85099708
852 80 $bfax$hND3241$iB78