The technique of painting on pasteboard under lacquer varnish has been utilized in Persian bookbinding from at least the fifteenth century. Originating in China, the technique was transmitted to Iran as a result of the expanded contacts with China during the Timurid hegemony. However, painters, and not bookbinders, were responsible for the adoption of the technique and its development in sixteenth- and seventeenth-century Safavid Iran. Lacquer painting for book covers gained greater popularity during the Zand and Qajar periods, which also coincides with a gradual decline in the production of leather binding. The bookbinding here reflects the pervasive influence of European art on Persian painting in this period. Stylistically, the European impact is evident in the gradations application of color, the modeling of figures and objects, the observation of the rules of perspective, the use of shading, as well as the atmospheric effects. Thematically, biblical scenes were inspired by the availability of European models in the form of devotional prints or paintings. The book cover is probably by a Qajar artist in the circle of Najaf Ali.
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Title:Bookcover with Christian Themes
Date:mid-19th century
Geography:Attributed to Iran
Medium:Pasteboard; painted and lacquered
Dimensions:H. 11 1/8 in. (28.3 cm) W. 6 1/2 in. (16.5 cm)
Classification:Lacquer
Credit Line:Gift of Mrs. Henry Morgenthau, 1934
Accession Number:34.23
Bookcover with Christian Themes
The technique of painting on pasteboard under lacquer varnish has been utilized in Persian bookbinding from at least the fifteenth century. Originating in China, the technique was transmitted to Iran as a result of the expanded contacts with China during the Timurid hegemony. Painters, and not bookbinders, were, however, responsible for the adoption of the technique and its development in the sixteenth- and seventeenth-century Safavid Iran. Lacquer painting for book covers gained greater popularity during the Zand and Qajar periods (18th–19th century) which also coincides with a gradual decline in the production of leather binding.
The great appeal of this method of decoration is in its achieving a depth and richness of color and a veiled impression of the surface that is impossible without the layers of clear varnish. In addition to bookbinding, the technique was widely applied to a variety of objects — pen cases, mirror covers, boxes, doors, etc. Scenes of battle, hunt, courtly feast, outdoor picnic, and literary and historical themes as well as elaborate floral bouquets were the common subject depicted on these objects.
The bookbinding illustrated here reflects the pervasive influence of European art on Persian painting in this period. Stylistically, the European impact is evident in the pointilist application of color, the modeling of figures and objects, the observation of the rules of perspective, the use of shading, as well as the atmospheric effects. Thematically, the scenes of the Holy Family were most likely inspired by the availability of European models in the form of devotional prints or paintings.
Sussan Babaie in [Walker et al. 1994]
Mrs. Henry Morgenthau, New York (until 1934; gifted to MMA)
Baltimore Museum of Art. "The History of Bookbinding 525–1950A.D.," November 12, 1957–January 12, 1958, no. 100.
Mexico City. Colegio de San Ildefonso. "Arte Islámico del Museo Metropolitano de Arte de Nueva York," September 30, 1994–January 8, 1995, no. 34.
New York. Leubsdorf Gallery at Hunter College. "Re-Orientations: Islamic Art and the West in the Eighteenth and Nineteenth Centuries," February 7, 2008–April 26, 2008, no catalogue.
Walters Art Museum. "An Exhibition Held at the Baltimore Museum of Art November 12, 1957–January 12, 1958." In The History of Bookbinding, 525–1950 AD. Baltimore: Walters Art Museum, 1957. no. 100.
Metropolitan Museum of Art, Daniel S. Walker, Arturo Ponce Guadián, Sussan Babaie, Stefano Carboni, Aimee Froom, Marie Lukens Swietochowski, Tomoko Masuya, Annie Christine Daskalakis-Matthews, Abdallah Kahil, and Rochelle Kessler. "Colegio de San Ildefonso, Septiembre de 1994–Enero de 1995." In Arte Islámico del Museo Metropolitano de Arte de Nueva York. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994. no. 34, pp. 112–13, ill. (b/w).
Bates, Ülkü. Re-Orientations: Islamic Art and the West in the Eighteenth and Nineteenth Centuries. New York, 2008. no. 4, pp. 40–42, ill.
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