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Side 48
The stylistic features by means of which Farrukhī , achieves his poetic aim have in part been already touched upon ; mention of them is important because , as noted above p . 47 , they were frequently adopted by later authors for their ...
The stylistic features by means of which Farrukhī , achieves his poetic aim have in part been already touched upon ; mention of them is important because , as noted above p . 47 , they were frequently adopted by later authors for their ...
Side 102
This silence of the texts appears by no means unusual if we call to mind that the creative developments which took place in the visual arts were only reflected to a limited extent in Mughal writing . This is particularly true for the ...
This silence of the texts appears by no means unusual if we call to mind that the creative developments which took place in the visual arts were only reflected to a limited extent in Mughal writing . This is particularly true for the ...
Side 18
Two terms of disapproval indicate what the Timurids disliked : durusht means both big and coarse , so that they would have disliked Picasso , and khām means not only vain and pointless , but unsophisticated and naif , so that they would ...
Two terms of disapproval indicate what the Timurids disliked : durusht means both big and coarse , so that they would have disliked Picasso , and khām means not only vain and pointless , but unsophisticated and naif , so that they would ...
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Innhold
Their Material and Manufacture | 12 |
Kavads Heresy and Mazdaks Revolt by Patricia Crone | 21 |
Farrukhis Elegy on Maḥmūd of Ghazna by C Edmund Bosworth | 43 |
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