The Persian Album, 1400–1600

https://doi.org/10.37862/aaeportal.00153

Stable URL: https://aaeportal.com/?id=-15524

This groundbreaking book examines portable art collections assembled in the courts of Greater Iran in the fifteenth and sixteenth centuries. Made for members of the royal families or ruling elites, albums were created to preserve and display art, yet they were conceptualized in different ways. David Roxburgh, a leading expert on Persian albums and the art of the book, discusses this diversity and demonstrates convincingly that to look at the practice of album making is to open a vista to a culture of thought about the Persian art tradition.

The book considers the album’s formal and physical properties, assembly, and content, as well as the viewer’s experience. Focusing on seven albums created during the Timurid and Safavid dynasties, Roxburgh reconstructs the history and development of this codex form and uses the works of art to explore notions of how art and aesthetics were conceived in Persian court culture. Illustrated with a number of rare works of art, the book offers a range of new insights into Persian visual culture as well as Islamic art history.

Author

PublisherYale University Press

Print publication date March 2005 (in print)

Print ISBN 9780300103250

EISBN 9780300233582

Illustrations 125 b/w + 51 color illus.

Print Status in print

Publisher (in print)

WorldCat

Google Books

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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
Young Man in a Blue Coat, Qazvin
Man with a ram

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Contents

Contents

Author

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00153.001

Stable URL: https://aaeportal.com/?id=-15525

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Preface

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...

Author

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00153.002

Stable URL: https://aaeportal.com/?id=-15526

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1. The Persian Album

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...

Author

PublisherYale University Press

Related print edition pages: pp.1-35

https://doi.org/10.37862/aaeportal.00153.003

Stable URL: https://aaeportal.com/?id=-15527

Chapter subject tags:Art, IranianIslamic calligraphy in artIslamic decoration and ornamentNature in art

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2. First Sighting: Baysunghur's Calligraphy Album

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...

Author

PublisherYale University Press

Related print edition pages: pp.37-83

https://doi.org/10.37862/aaeportal.00153.004

Stable URL: https://aaeportal.com/?id=-15528

Chapter subject tags:Islamic calligraphy in artIslamic decoration and ornamentCourts and courtiers in artScript typeHuman figure in art

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3. In the Workshop: Timurid Albums

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...

Author

PublisherYale University Press

Related print edition pages: pp.85-147

https://doi.org/10.37862/aaeportal.00153.005

Stable URL: https://aaeportal.com/?id=-15529

Chapter subject tags:Art, TimuridIllumination of books and manuscripts, TimuridIslamic decoration and ornamentIslamic calligraphy in artScript type

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4. Reinventions of the Book

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...

Author

PublisherYale University Press

Related print edition pages: pp.149-179

https://doi.org/10.37862/aaeportal.00153.006

Stable URL: https://aaeportal.com/?id=-15530

Chapter subject tags:Islamic calligraphy in artIslamic decoration and ornamentNarrative artIslamic bookbinding

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5. Three Safavid Albums of the Mid-1500s

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...

Author

PublisherYale University Press

Related print edition pages: pp.181-243

https://doi.org/10.37862/aaeportal.00153.007

Stable URL: https://aaeportal.com/?id=-15531

Chapter subject tags:Art, SafavidIllumination of books and manuscripts, SafavidIslamic calligraphy in artIslamic decoration and ornamentDecoration and ornament, Iranian

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6. Bahram Mirza’s 1544–45 Album

BAHRAM MIRZA’S album of 1544–45, assembled by the calligrapher Dust Muhammad, opens with a painting and a joke...

Author

PublisherYale University Press

Related print edition pages: pp.245-307

https://doi.org/10.37862/aaeportal.00153.008

Stable URL: https://aaeportal.com/?id=-15532

Chapter subject tags:Islamic calligraphy in artIslamic decoration and ornamentIllumination of books and manuscripts, SafavidPainting, ChineseNature in art

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7. Coda: New Orientations

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...

Author

PublisherYale University Press

Related print edition pages: pp.309-325

https://doi.org/10.37862/aaeportal.00153.009

Stable URL: https://aaeportal.com/?id=-15533

Chapter subject tags:Art, IranianIslamic calligraphy in artIslamic decoration and ornamentNature in art

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Works Cited

Works Cited

Author

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00153.010

Stable URL: https://aaeportal.com/?id=-15534

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