List of illustrations

  • Tazza Farnese
  • Drawing after the Tazza Farnese
  • Page of drawings
  • Bowl depicting Bahram Gur and Azada on a camel
  • Bowl depicting Bahram Gur and Azada on a camel encircled by mounted figures
  • Frontispiece showing Imperato's collection from an illustrated book
  • Engraving showing interior of Worm's collection in Copenhagen from an illustrated book
  • Bahram Mirza's 1544–45 album opened to two pages composed of calligraphies
  • Detail of a folio of calligraphy in Bahram Mirza's 1544–45 album
  • Safavid album, dated in 1582–83, open to pages of calligraphy and painting
  • Composite page uniting a drawing, painting, and calligraphies from the Timurid and Safavid periods
  • Composite album page uniting drawing, painting, and calligraphies from the Timurid and Safavid periods
  • Page of calligraphy in nasta'līq by Mir 'Ali decorated with Ottoman illumination
  • Calligraphy in nasta'līq by Mir 'Ali mounted in a "nīm-rangī" border
  • Detail of three drawings in the Timurid workshop album
  • Page of drawings in the Timurid workshop album showing space left by the removal of a drawing
  • Page of drawings and paintings from the Ya'qub Beg album
  • Khalil Sultan's court
  • Ex libris of the Baysunghur calligraphy album
  • Illuminated headpiece and calligraphy
  • Illuminated headpiece (detail)
  • Last page of an exercise in tawqī' by Mubarakshah b. 'Abd Allah
  • Detail of palmette also showing the construction of the album page
  • Last page of an exercise in thuluth, naskh, and tawqī' by Argun al-Kamili dated 743
  • Specimen in tawqī' signed by Aghun al-Kamili, dated in 737
  • Single-sheet specimen in tawqī' signed by 'Abd Allah b. Mahmud al-Sayrafi, dated in Rabi'I, 714
  • Page from a sequence in muḥaqqaq and naskh
  • Illuminated headpiece and calligraphy in muḥaqqaq and naskh
  • Page from a thirty-part Qur'an in naskh and muḥaqqaq
  • Page from a Qur'an (heading to sura 30) illuminated by Muhammad b. Aybak b. 'Abd-Allah
  • Double-page illumination from a Qur'an copied in naskh
  • Heading to sura 28 from a Qur'an copied by Shams al-Baysunghuri in naskh
  • Illuminated frontispiece from a Qur'an copied by Shams al-Baysunghuri for Baysunghur and 'Ala' al-Dawla
  • Illuminated diagram of rule from a "Naṣā'iḥ-i Iskandar" (Counsels of Alexander)
  • The destitute vizier before the ruler's palace
  • Rudagi and the Samanid Amir Nasr b. Ahmad
  • Concluding page of Baysunghur's calligraphy album showing seals of its Timurid owners
  • Illuminated ex libris in Bahram Mirza's album of the six cursive scripts
  • Facing pages of calligraphies in Bahram Mirza's album of the six cursive scripts
  • First page of calligraphy by Yaqut al-Musta'simi written in thuluth and naskh from Bahram Mirza's album of the six cursive scripts
  • Calligraphic exercise after a model in riqā attributed to Ahmad al-Rumi
  • Drawings of various subjects
  • Page of calligraphies written in different scripts; two specimens signed by al-Hajj Muhammad al-Musharriji and Jamal Muhammad al-Musharriji
  • Turco-Mongol genealogy depicting Timur and his sons
  • Turco-Mongol genealogy depicting Alan Qoa
  • Page of calligraphies written in different scripts, two signed by Ahmad and Hajji Muhammad Bandgir
  • Monumental Arabic inscription, "Praise be to God for his unity," in thuluth variant
  • Polychrome calligraphic design superimposing the name of 'Ali in Kufic
  • Epigraphic design in thuluth done in the name of Khalil Sultan (r. 1405–9)
  • Headpiece to a scroll comprising introductory text in a roundel, polychrome epigraphic design, and invocations to the Mamluk Sultan Sha'ban II (r. 1363–77), in various scripts
  • Urban riot below the walls of a city
  • Rustam riding Rakhsh and lassoing a dīv
  • Assemblange of drawings depicting many subjects
  • Three drawings
  • Drawings and paintings of assorted subjects, one signed by Muhammad b. Mahmudshah al-Khayyam (crane)
  • Designs for textiles, bindings, or achitectural decoration, and studies of flowers and a standing figure
  • Drawings of flowers and a study sheet with animals
  • Sheet of calligraphy in muhaqqaq an dnaskh with strips of Kufic, bannā'ī, and muhaqqaq
  • Monumental epigraphic design in thuluth surrounded by smaller texts in thuluth and naskh
  • Composite page of calligraphies, two signed by Nasr Allah al-Tabib
  • Two calligraphies in naskh, riqā', and thuluth signed by Hajji Bandgir (dated 1381) and al-Hajj Muhammad al-Musharriji (1379–80)
  • Page in an anthology made for Iskandar Sultan
  • Map of the Timurid world after the Balkhi School of geography; page in an anthology made for Iskandar Sultan
  • Extracts from the poetry of 'Attar, Nizami, and Firdawsi in nasta'līq with illustrations
  • Facade of the mausoleum of Qutluq Aqa, Shah-i Zinda
  • Detail of entrance portal showing epigraphic decoration, Aq Saray
  • Page from an anthology of Iskandar Sultan showing designs for bookbinding components
  • Designs for medallions
  • Pages from the "Nativity Book" of Iskandar Sultan showing medallions enclosed by corner pieces at the center of each page
  • Pages from the "Nativity Book" of Iskandar Sultan showing medallions enclosed by corner pieces at the center of each page
  • Page from an anthology made for Iskandar Sultan showing designs related to bookbindings and textiles
  • The thief discovered in the bedchamber
  • The thief discovered in the bedchamber
  • Detail of a page of drawings
  • Detail of a page of drawings showing musicians and an attribution
  • Table of contents in an anthology
  • Text page showing division of central field and margin in an anthology
  • Stenciled lotus design from an anthology of poetry
  • Stenciled designs of vases with flowers from an anthology of poetry
  • Stenciled designs comprising a gridded pattern and calligraphic design from an anthology of poetry
  • Stenciled medallion containing deer and lotus flowers from a safīna
  • Illuminated heading from a safīna of ghazals
  • Stenciled page with angels from a safīna of ghazals
  • Stenciled page from a safīna of ghazals
  • Illuminated shamsa combining Shahrukh's ex libris and the contents of the book
  • Chinese paper depicting pomegranates
  • Chinese paper depicting waves
  • Inner surface of a binding comprising doublure, fore-edge, and envelope flaps
  • Doublure comprising corner pieces and a medallion containing a simurgh and fox
  • Page of decoupage calligraphy in thuluth, riqā', and ta'līq
  • Page of decoupage calligraphy in thuluth, riqā', and ta'līq
  • Endpaper patched together from rectangles of paper
  • FIGURE 92 | Page of decoupage from Sultan Husayn’s Dīvān
  • Page from a dispersed copy of Firdawsi's Shāhnāma
  • Double page from a Dīvān of Sultan Husayn copied by Sultan 'Ali Mashhadi
  • Pages from an anthology of calligraphy signed by Mir'Ali
  • Folio with a couplet of poetry in nasta'liq
  • Old man and a youth attributed to Bihzad
  • Upper cover of binding
  • Painting with calligraphy and framing borders
  • Page of calligraphies and illuminated headpiece
  • Two monumental calligraphies in thuluth (top) and ghubār (bottom)
  • Page from the Baysunghur calligraphy album
  • Collage of specimens in naskh, thuluth, and riqā', the center sheet signed by Arghun al-Kamili
  • Specimen of ta'līq dated 1418–19 and signed by al-'Abd al-Faqir al-Haqir al-Khafi
  • Specimen in the six scripts signed by Muhammad Mu'min, dated in the last ten days of Rabi' II 924
  • Tahmina before Rustam
  • Virgin and child, Persian painting after a European model
  • Four portraits identified in captions as Bihzad, Kopek Qiran, Hafiz Qasim, and Hafiz Mahicha
  • Three drawings: Safavid youths jousting attributed to Mawlana Qadimi, a trout attributed to Haydar 'Ali, and an ox
  • Kardana and the Tortoise become Friends from a dismembered Kalīla and Dimna, probably Tabriz
  • Collage of paintings from a Kalīla wa Dimna
  • Double-page illumination framing the preface, margins by Muzaffar 'Ali
  • Enthronement scene
  • Page of calligraphies in nasta'līq with border possibly by Muzaffar 'Ali
  • Composition of identical calligraphies in nasta'līq (one signed by Shah Mahmud) and a drawing of a woman
  • Composition of calligraphies signed by Sultan 'Ali al-Mashhadi and Malik Daylami and a drawing of an old man and a youth
  • Composition of calligraphies and a painting showing a prince contemplating a painted portrait
  • Practice sheet in muhaqqaq, thuluth, naskh, riqā', tawqī', and ta'līq signed by Muhammad Mu'min b. 'Abd Allah
  • Upper cover of binding
  • Envelope flap of binding
  • Practice sheet (first of two pages) in several scripts signed by 'Abd Allah al-Ziyaratgahi
  • Composite page of calligraphies—center specimen signed by Sultan 'Ali al-Mashhadi—framed in calligraphic and painted border showing two people and a decorative stenciled margin
  • Three calligraphies in nasta'līq signed by Shah Mahmud al-Nishapuri
  • Painting of a princely figure accompanied by a smaller one signed by Hasan
  • Composite page mounted from a painting of a seated woman signed by Mahmud Muzahhib; drawing of a falcon; and two calligraphies in nasta'lī (top left signed by Shah Mahmud; bottom right signed by Sultan Muhammad Nur)
  • Safavid courtier signed by 'Abd al-Aziz
  • Shirin visits Mount Bisitun, where she sees Farhad the sculptor
  • Illuminated painting depicting a dragon and simurgh in combat
  • Illuminated shamsa with corner pieces
  • Illuminated sarlawḥ (first in a double-page) containing the names of God
  • Scene of a Safavid ṣuḥbat by Tahmasp al-Husayni and made for Bahram Mirza
  • Portrait of a Safavid prince-ruler and his cupbearer
  • Prince and his intimate
  • Composite page of paintings and drawings showing figures in combat: two cheetahs; an enthronement; the dervish Shallaqi Jami; and a dragon
  • Composite page including a seated prince; a portrait of Taj al-Din by Muhammadi; figures in combat; and a princely figure riding in a landscape
  • Practice exercise in nasta'līq (second of two pages)
  • Composite page with unsigned practice exercise and two qiṭa'
  • Sheet of calligraphy in nasta'līq, thuluth, riqā', and naskh combining various texts
  • Four calligraphies signed by Sultan Muhammad Nur
  • Three calligraphies, two signed by 'Ali
  • Eight paintings done as single sheets and manuscript illustrations
  • Composite page of paintings, three from illustrated manuscripts
  • Composition of decoupage calligraphy signed by Sultan 'Ali al-Mashhadi and Mir Sa'id al-Haravi
  • Geometric composition assembled from strips of calligraphy
  • Composite page of "outlined" calligraphies with the signatures of Sultan 'Ali Mashhadi, Mas'ud al-Kirmani, Yari Muzahhib, and 'Ali
  • Composite page of decoupage calligraphies signed by Sultan 'Ali Mashhadi, Shaykh 'Abd Allah al-Haravi, and Rukn Mujallid
  • Bird-and-flower painting
  • Bird-and-flower painting
  • Sayf al-Muluk and an angel
  • Four figures, two identified by labels
  • Three figure studies, one with calligraphy signed by Shah Mahmud al-Nishapuri
  • Combat between two warriors, a Qalandar dervish, and a lion
  • Two lynx and two antelope
  • White gyrfalcon
  • White gyrfalcon
  • The Prophet Muhammad on Buraq attended by Gabriel
  • Two paintings from a Mi'rāj-nāma: the Prophet Muhammad carried by Gabriel arriving at the gate of paradise guarded by the angel Rizvan (top): Gabriel and Muhammad gazing at the Sidrat al-muntahā from the Bayt al-ma'mūr (bottom)
  • Rustam lassoing Rakhsh
  • Three figure studies
  • Two manuscript paintings attributed to Vali Allah; two scenes of figures in combat attributed to Mawlana Maqsud (Khurasani); and a drawing of a princely figure on a horse
  • Collaborative specimens
  • Two decoupage calligraphies
  • Double-page painting of a horse and Chinese grooms
  • Three birds perched in flowering trees
  • Rustam killing the white dīv., scene from Firdawsi's Shāhnāmā (fragment from drawing mounted on fol. 84b at lower edge)
  • Hunt scene
  • Portrait of a young man
  • Portrait of a seated scribe
  • Figure and animal studies
  • Dragon in foliage
  • Composite page of calligraphies in nasta'līq, one example signed by Shah Mahmud al-Nishapuri
  • Folio from the Gulshan Album (Rose Garden album)
  • Young Man in a Blue Coat, Qazvin
  • Man with a ram
Free
Description: The Persian Album, 1400–1600
Contents
PublisherYale University Press
Free
Description: The Persian Album, 1400–1600
THIS BOOK is about albums—bound collections of calligraphy, painting, and drawing—assembled in Greater Iran between ca. 1400 and 1600 in the milieus of royal courts. Despite basic similarities of form and intention—to preserve and display—albums were conceptualized in widely different ways. Over time the...
PublisherYale University Press
Description: The Persian Album, 1400–1600
AN INVENTORY of Lorenzo de Medici’s possessions, drawn up in 1512 after his death, lists one chalcedony bowl valued at ten thousand florins. This extraordinary object was cut from semitransparent milky brown and amber quartz in Alexandria, Egypt, between 180 and 150 B.C.E...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
WITH THESE words Dawlatshah Samarqandi introduces the Timurid prince Baysunghur’s attempt to gather the complete poetry of Amir Khusraw (1253–1325), a poet born in India and renowned for his stunning literary abilities and elegance as a courtier. Despite the considerable resources available...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
ONE PAGE from the “Timurid workshop album” shows multiple lines of the saying “Blessings coalesce around gratitude” (bi’l-shukr tadawwama al-niʿam) copied in riqāʿ script...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
AT THE beginning of the fifteenth century, the book was conceived as an object comprising a binding and a textblock of sheets on which practitioners—chiefly calligraphers, painters, and illuminators—had performed their art. Some flexibility was possible in the sequence of drafting and executing illumination, drawing, and painting and in the addition of rulings, but by and...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
THUS BEGINS the calligrapher Malik Daylami’s preface to an album made for Amir Husayn Beg. Its convoluted imagery and complex literary behaviors, which continue unabated throughout the preface, manufacture an exceedingly dense message...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
BAHRAM MIRZA’S album of 1544–45, assembled by the calligrapher Dust Muhammad, opens with a painting and a joke...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
AT THE beginning of this book, I proposed that a developmental historical approach and its linked concept of “genre” be put aside in order to examine each album as a unity and as a material product of its culture. At the other end of this book, we see how each of the Timurid and Safavid albums operates as a...
PublisherYale University Press

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Description: The Persian Album, 1400–1600
Works Cited
PublisherYale University Press

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Free
Description: The Persian Album, 1400–1600
Index
PublisherYale University Press
Free
Description: The Persian Album, 1400–1600
Photo Credits
PublisherYale University Press
The Persian Album, 1400–1600
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