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MAR 16
1914
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A CATALOGUE OF A COLLECTION OF
PERSIAN MANUSCRIPTS
COLUMBIA UNIVERSITY
INDO IRANIAN SERIES EDITED BY
A. V.
WILLIAMS JACKSON
PROFESSOR OF INDO-IRANIAN LANGUAGES IN COLUMBIA UNIVERSITY
Volume
1
For volumes previously published see page iv
Neto gorft
COLUMBIA UNIVERSITY PRESS 1914 All rights reserved
A CATALOGUE OF THE COLLECTION OF
PERSIAN MANUSCRIPTS INCLUDING ALSO SOME TURKISH AND ARABIC PRESENTED TO THE
METROPOLITAN MUSEUM OF ART NEW YORK V
BY
ALEXANDER SMITH COCHRAN PREPARED AND EDITED BY A. V.
WILLIAMS JACKSON
PROFESSOR OF INDO-IRANLAN LANGUAGES
AND
ABRAHAM YOHANNAN LECTURER IN ORIENTAL LANGUAGES, COLUMBIA UNIVERSITY
COLUMBIA UNIVERSITY PRESS 1914 All rights reserved
Bibliographical Note Seven volumes of the Indo-Iranian Series have been previously published (volumes 2-8, 1901-1913; As the see the announcement following page 187). Sanskrit
Grammar for
nounced as the
first
Beginners
volume of the
,
heretofore
Series,
is
an-
not yet
ready for publication (though nearly complete in manuscript), the present work venience, issued as
Volume
1
is,
for general con-
in its stead.
Copyright, 1914,
By Set
COLUMBIA UNIVERSITY PRESS.
up and
electrotyped.
Printed February, 1914.
Tforbjootj IPress
J. S.
—
Berwick & Smith Co. Norwood, Mass., U.S.A.
Cushing Co.
iv
PREFACE The
preparation of this catalogue has been a pleasant task
during the past two years, though the appearance of the
many
has been considerably delayed by the sity duties.
was
The plan
exactions of univer-
followed in describing the manuscripts
originally adopted in conference with Mr.
he was collecting them for
his
own
Cochran while
and now that he
library,
has presented the collection to the Metropolitan
Art
in
New York
work
City in order to
public, the plan then designed
make
Museum
of
accessible to the
it
seems equally suitable for the
purpose of the general exhibition of the collection.
The
descriptive method, thus chosen, has kept several ob-
jects in view.
By
the side of technical matters for the infor-
mation of Oriental
specialists,
particular attention
has been
paid to the art side of the collection, so as to convey
some
idea of the illuminations, miniatures, bindings, and the like, in addition to matters
of literary interest, details of historic
import, or items of a personal nature regarding the individual
owners of the copies
in generations long past, as gathered
the Oriental seals and
memorandums.
It
from
would seem that no
serious objection could be raised critically to the fulness with
which such matters are recorded
To
the generous donor
to the public sult
them
in the
who made
and available
pages that follow.
the manuscripts accessible
to scholars that
in future, a special
may wish
acknowledgment
that, a personal expression of
thanks
is
is
owing
due. to
him
to con-
Beyond for the
constant interest that he has shown, in every possible manner,
PREFACE
VI in the preparation"
his aid the
and publication of the catalogue.
volume could not have appeared
in the
Without
Columbia
University Indo-Iranian Series.
Words
due
of appreciation are likewise
to
Mr. Frederic
W.
Erb, Mr. Frank Erb, and Miss Adele Erb, of the Library Staff
Columbia, as well as to the Librarian of the University,
at
Dr.
W. Dawson
Johnston, for obliging assistance in connection
with the handling of the manuscripts during the year and a half that they were deposited in the Columbia University Library vaults for consultation in the preparation of this catalogue.
In
manner Director Edward Robinson and his assistant, Mr. Henry W. Kent, of the Metropolitan Museum, together with
like
Curator
W.
R. Valentiner and Mr. D. Friedley, have been equally
kind in granting every possible
facility in
consulting the codexes
since they have been on public exhibition in the Persian at the
Museum.
Nor
is
to
room
be forgotten the help they gave
while the illustrative plates were being prepared, so as to convey
an idea of some of the miniatures that adorn the
Among
other friends
who
collection.
may be mentioned who gave
gladly lent aid
Professor Richard Gottheil, of Columbia University, assistance
in
connection with certain points relating to the
Qur’an and other important matters.
As
to
valued suggestions
concerning the character and quality of the paper in the different manuscripts, acknowledgment
McMurtrie, of
New
York.
is
also
There
is
made
to
Mr. Douglas C.
an appropriate opportunity
Susan Yohannan and Miss untiring work in copying and re-
here, furthermore, to thank Miss
Cassandra Yohannan for their
copying each section of the book as
it
was being prepared
for
the press.
Last but not
least, that friend, student,
and
faithful helper,
Dr. George C. O. Haas, sometime Fellow in Indo-Iranian Lan-
guages City of
at
Columbia and now Instructor
New
in the
College of the
York, deserves a very special acknowledgment;
he not only prepared the Index
to this
work, but also gave
PREFACE
VU
readily, as usual, his technical advice in all matters relating to the
volume and
his skilled service in reading every
revise of the proofsheets, to
supplement the care bestowed by the
make-up
of the
readers of the
Norwood
To each and
all
Press.
of these willing helpers
most hearty thanks
are expressed anew. A. V.
WILLIAMS JACKSON,
ABRAHAM YOHANNAN. Columbia University, July
i,
1913.
1
CONTENTS Preface
.......... ..... .......
List of Illustrations
List of
Works of Reference
List of Abbreviations
Introduction
II.
xi xii
XV
:
Firdausi
5
Ms. No.
i.
Shah-namah (1587-1588
Ms. No.
2.
Shah-namah (1602
Ms. No.
8
a.d.)
a.d.)
14
3.
Shah-namah (1605-1608
a.d.)
20
Ms. No.
4.
Shah-namah (1663-1669
a.d.)
28
Ms. No.
5.
Shah-namah
Nizami Ms. No.
........
6.
Ms. No.
7.
Ms. No.
8.
Ms. No.
9.
Ms. No. Ms. No.
A
11.
Ms. No.
47 49
.
S3 58 16th
67 7
— Nizami I
Persian
Anthology
Selections also from other well-
;
Persian writers (19th cent.)
Rumi
12.
38
.
Haft Paikar (16th cent.)
abridged
Jalal ad-Din
6th- 1 7th cent.)
.......
10.
known
(1
Khamsah (1449-1450 a.d.) Khamsah (1509-15 10 a.d.) Khamsah (1525 a.d.) Khamsah (middle of the
cent.)
III.
V
xvii
Persian Manuscripts I.
PAGE
......
Masnawi (1489 ix
a.d.)
.
79 93 95
X
CONTENTS PAGE
IV.
Sa'di
ioi
Ms. No.
13.
Kulliyyat (middle of the
16th
102
cent.)
Ms. No.
14.
Bustan (2d quarter of the 17th 108
cent.)
V.
Amir Khusrau Ms. No.
15.
of Delhi
.
Khamsah
.
.
(latter
*'.119
.
half
the
of
120
17th cent.)
VI.
Hafiz
127
Ms. No. VII.
16.
Diwan
(1 8th- 19th cent.)
.
.
Jami
129 139
Ms. No.
17.
Diwan
Ms. No.
18.
Yusuf
1
(c.
1470
and
a. d.)
.
Zulaikha
.
524 A.D.)
Ms. No.
19.
145
Yusuf and Zulaikha
(c.
1550
a.d.)
148
Ms. No. 20. 1
140
(1523-
Haft Aurang (middle of the
8th cent.)
151
Turkish Manuscripts: VIII.
Mir
‘All
Shir Nawa’i
Ms. No.
21.
Ms. No. 22.
Arabic Manuscripts IX.
159
A
Diwan (1499-1500 Second Diwan (1580
a.d.)
.
160
a.d.)
.
164
:
Qur’an
171
Mss. Nos. 23-24.
two volumes
Copy
of
(1427 a.d.)
the
Qur’an
....
in
172
Index
179
List of Scribes and Artists
187
LIST OF ILLUSTRATIONS PAGE 1.
2.
Faridun’s Grief at the Murder of his Son Iraj Painting by ‘All Naqi, Ms. No. 4, fol. 24 b.
Naufal, the Arab Chieftain, championing the Cause of Majnun Ms. No.
3.
7, fol.
5.
King Khusrau seated on
ijis
in
8.
64
230^.
32
8, fol.
68
1£.
103
Bahram Gur
118
in
the Red Palace
.
.
.
.
15, fol. 159a.
Embellished Introductory Page (‘Unwan)
.
157
21, outside of cover.
Lacquer Painting on a Manuscript Cover Ms. No.
A
13.
Arabic Memorandum
.
160
back cover.
21, inside of
12.
King listening to a Court Poet Ms. No. 21, fol. 51a. the Handwriting of the Mughal Emperor AurangzIb
173
in
.
Ms. No.
148
18, fol. 2 a.
Ornate Lacquer Binding Ms. No.
11.
8, fol.
.........
Ms. No. 10.
61
.
Recitation of Poems to the Accompaniment of Music Ms. No. 12, fol. 172#. Ms. No.
9.
57
64 a.
Alexander receiving Booty on the Day of Battle Painting by Mirak, Ms. No.
7.
8, fol.
.
the Sandal Palace
Painting by Mirak, Ms. No. 6.
Throne
King Khusrau and his Bride Shirin Painting by Mirak, Ms. No. 8, fol. 104&
Bahram Gur
54
130a.
Painting by Mirak, Ms. No. 4.
39
24, fol. 268^. XI
176
:
.
WORKS OF REFERENCE
LIST OF This
list
includes the works
most often
cited, together
profitably be consulted in connection with this catalogue.
books and papers are given
Amir Khusrau
in the
of Delhi.
body
with those that
may
Details regarding other
of the work.
For bibliographical references see Ethe,
Neupersische Litteratur, in Grundriss der iranischen Philologie, 2.
245.
W.
Beale, T.
Oriental Biographical Dictionary.
New
ed.,
London,
1894.
Les Ecoles de peinture en Perse.
Blochet, E. 4. ser. 6.
In Revue archeologique,
121-148, Paris, 1905.
Les Miniaturistes des manuscrits musulmans.
In Gazette des
beaux-arts, 39. annee, 3. periode, 17. 281-296; 18. 104-118, Paris,
1897.
Les Origines de
la peinture
en Perse.
In Gazette des beaux-arts,
47. annee, 3. periode, 34. 115-130, Paris, 1905.
Peintures de manuscrits arabes, persans et turcs de la Biblio-
theque
N ationale.
Browne, Edward G.
and
Paris,
A
[
1
91
1]
Literary History of Persia.
2 vols.,
London
New
York, 1902, 1906. Catalogue of the Persian Manuscripts
in the
Library of the
Cambridge, 1896. Du Khorassan au pays des Backhtiaris
University of Cambridge.
D’Allemagne, Henry-Rene.
compte rendu. Paris, 1911. H. M. The History of India as told by its own Historians the Muhammadan Period. Edited by Professor John Dowson. 8 vols., London, 1867-1877. Ethe, Hermann. Neupersische Litteratur. In Grundriss der iranElliot, Sir
ischen Philologie,
Firdausi. J.
2.
2x2-368, Strassburg, 1896-1904.
Firdusii Liber
A. Vullers
(et S.
Regum
Landauer).
qui inscribitur Shah
Name,
3 vols., Leiden, 1877-1884.
ed.
WORKS OF REFERENCE
LIST OF
The Shahnama E. Warner.
Xlll
done into English by A. G. and London, 1905-1912. traduit et commente par Jules Mohl. 7 vols.,
of Firdausi,
Vols. 1-6,
Le Livre des
rois,
Paris, 1876-1878. II
Libro dei
da Italo Gayet, A.
poema
re,
epico, recato dal persiano in versi italiani
8 vols., Turin, 1886-1888.
Pizzi.
L’Art persan.
J.
Paris, 1895.
Grundriss der iranischen Philologie, herausgegeben von Wilhelm Geiger und Ernst Kuhn.
2 vols.,
Strassburg, 1895-1904.
See the works referred to on page 128.
Hafiz.
Havell, E. B.
Indian Sculpture and Painting illustrated by Typical
Masterpieces, with an Explanation of their Motives and Ideals.
London, 1908. Horn, Paul.
Geschichte der persischen Litteratur.
Les Calligraphes et
Huart, C.
les
Leipzig,
1901.
miniaturistes de l’Orient musul-
man. Paris, 1908. ad-Din Rumi. See the works referred to on page 94. Jami. See the works referred to on page 139. Karabacek, J. Uber das angebliche Bilderverbot des Islams. In Kunst und Gewerbe, 10. 281-283, 289-291, 297-299, 307-308, 315-317, 33 2 -333- Nuremberg, 1876. Jalal
Mahler, Eduard.
Chronologische Vergleichungstabellen, nebst einer
Anleitung zu den Grundziigen der Chronologie.
Vol.
1,
Vienna,
1889.
Mogor, or Mogul India, translated by London, 1906. 4 < Martin, F. R. The Miniature Painting and Painters of Persia, India, and Turkey from the eighth to the eighteenth Century. 2 vols., London, 1912. (This invaluable work became accessible only after the copy of the present volume was ready for the
Manucci, Nicolao.
Storia do
W.
vols.,
G.
Irvine.
‘
press; information
brackets
Mir
‘All
’
drawn from
to indicate
its
it
has been inclosed in angular
subsequent addition.)
>
See the works referred to on page 159. A., [and Ross, E. D.]. Catalogue of the Arabic and
Shir Nawa’i.
Muqtadir,
M.
Persian Manuscripts in the Oriental Public Library at Bankipore. 3 vols., Calcutta, 1908-1912.
Nizami. Pertsch,
See the works referred to on page 48.
W.
Verzeichniss der persischen Handschriften der konig-
lichen Bibliothek zu Berlin.
Berlin, 1888.
LIST OF
XIV
WORKS OF REFERENCE
Catalogue of the Persian Manuscripts in the British
Rieu, C.
seum.
3
vols.,
Supplement
London,
Mu-
1879-1883.
to the preceding.
London, 1895.
Catalogue of the Turkish Manuscripts in the British Museum.
London, 1888. RumI, Jalal ad-Din. See the works referred to on page 94. Sachau, E., and Ethe, H. Catalogue of the Persian, Turkish, Hindustani, and Pushtu Manuscripts in the Bodleian Library. Part 1, Oxford, 1889. Sa'di.
See the works referred to on page 101.
Saladin, H., et Migeon, G.
Manuel d’Art musulman.
2 vols., Paris,
1907.
Riza ‘AbbasI, ein persischer Miniaturmaler.
Sarre, F.
und
Kiinstler, 10.
In Kunsl
Jahrgang, Berlin, 1910.
und Martin, F. R. Die Ausstellung von Meisterwerken muhammedanischer Kunst in Miinchen, 1910. 3 vols., Munich,
Sarre, F.,
1912.
Shah-namah. CValentiner,
See Firdausi.
W.
R.
The Cochran
Collection of Persian Manuscripts.
In Bulletin of the Metropolitan Museum of Art, 8. 80-86, New York, 1913. (A brief announcement of the gift of the collection, illustrated by three plates of selected miniatures, which are re-
produced
in this
authorities.)
>
volume, thanks to the courtesy of the
Museum
LIST OF ABBREVIATIONS A.H. Bull.
.
.
Anno
Hegirae,
Muhammadan
.
circa, about.
Cat.
.
Catalogue.
ch.
.
chapter.
cm.
.
centimeter, centimeters.
col.
.
column.
d.
.
died.
c.
ed.
.
fl.
.
fol.
.
.
edition, edited by.
floruit flourished. ,
folio.
Handschriften.
Hss.
.
in.
.
inch, inches.
1.
.
line.
n.
.
note.
opus citatum, the work previously cited.
op. cit
.
pi.
.
plate.
tr.
.
translation, translated by.
.
Angle brackets
< >
Era.
Bulletin.
closed
is
indicate that the matter so in-
based on published material by
Martin or by Valentiner that became accessible
after the
‘
copy
ready for the press.
XV
’
of this
volume was
INTRODUCTION
—
twenty of them This collection of Oriental manuscripts was presented Persian, two Eastern Turkish, and two Arabic
—
Museum
March, 1913, by Mr. Alexander Smith Cochran, of Yonkers, New York. All of the codexes are handsomely illuminated and are adorned with beauto the Metropolitan
tiful
of
Art
in
miniatures, the entire collection containing
interest to students of art, literature,
and
much
history.
A
that
is
number
of of
1 the manuscripts are in certain respects unique.
Mr. Cochran’s interest in Persia was first aroused by a journey he made through that country six years ago in company with his friend, the Editor of this volume. return to
New York
Museum by the gift of an may now be seen displayed in
he enriched the
extremely rare Persian rug, which
one of the
galleries, not far
from the Morgan
His present donation of manuscripts
ings.
Shortly after his
collection of paint-
fills
four large cases
occupying the greater part of the Persian room that adjoins the latter collection. 2 1 The general points of this whole Introduction, which describes the main features of the collection, have previously appeared in an article by
A. V.
W.
J. entitled
‘
Persian Manuscripts
627-628, June 19, 1913. 2 Prior to this gift the Metropolitan
’
in
The Nation (New York),
Museum
of Art possessed only
96.
one
Persian manuscript, a copy of Sa'di’s Bustan together with a selected collec,
tion of manuscript pages with
ornamental borders, as specimens of Persian
decorative art, and a
number
by the
Muhammad, Rida
artists
Sultan
The manuscript
of the
from manuscripts, and Qasim. copy, comprising 139 folios and
of single-leaf paintings, not
Bustan
is
‘AbbasI,
a fine xvii
INTRODUCTION
XV 111 Persian illuminated
manuscripts are growing rarer
year, as connoisseurs and
collectors well
every
know, and are ever
in-
creasing in value because of the exquisite miniatures with which
the finer ones are adorned. tistic
to
In this realm and in the line of
embellishment Persia was able, four and
produce specimens of
where
in their particular
art that
way.
have never been equaled
The
else-
Persian scribes, moreover,
were unrivaled masters of calligraphy, because the tiful
ar-
five centuries ago,
art of beau-
handwriting was cultivated as one of the highest of refined
accomplishments.
The
sians chose to clothe the
bindings, likewise, in which the
work of
their best writers
Per-
were often
masterpieces of workmanship. It is true that for
a time Persia had to borrow from China
certain elements, including grace of line
were in
to
be developed further with subtle
and other skill
Transoxiana and Turkistan; but she made
special property in the realm of art.
features, that
by Mongol all
artists
of these her
She was prepared
in turn
embellished by five full-page miniatures in addition to other rich ornamentations.
the
name
The copy has a partly obliterated colophon in two lines. In this of Mir ‘All al-Husainl can be deciphered with some difficulty as
that of the scribe, the date being given as 929 (?) A.H. = 1522-1523 (?) a.d. is fully corroborated by the general style and especially by the
This date
scribe, which appears to be identical with the penrenowned calligraphist Mir ‘All, who in 1523-1524 a.d. transcribed the copy of Jaml’s Yusuf and Zulaikha in the Cochran collection (No. 18, see p. 147-148 below), and it is borne out likewise by the style of the miniatures, which may well be attributed to Shaikh-zadah Mahmud of Khurasan, chief artist at the court of the Shaibanid princes of Trans-
handwriting of the
manship
of the
oxiana at this period.
Museum
< See
especially
W. R.
Valentiner, Bulletin of the
whose deductions are based on Martin, The Miniature Painting and Painters of Persia, India, and Turkey, 1. 55, 116-117, London, 1912; and compare Huart, Les Calligraphes et les miniaturistes de l’ Orient musulman, p. 331, Paris, i9o8.> Metropolitan
of Art, 8. 80,
may be called here to the fact that the angular brackets used throughout this catalogue indicate matter included from, or
(Attention
based upon, published material by Martin or by Valentiner that became copy of this volume was ready to go to press.)
available after the
‘
’
INTRODUCTION to
hand
ists at
to
the
Mughal India her refined gifts which made the artcourts of the Emperors Akbar, Jahangir, Shah J^ahan,
and Aurangzlb the greatest
The
portrait miniaturists of the world.
studies of such scholars as the
Huart, the
XIX
German
French
critics
Blochet and
authority Sarre, and the Scandinavian expert
work on the miniature paintings of Persia, India, and Turkey was published a few months ago in two splendid volumes, render possible a truer judgment of the Martin, whose standard
worth of the present these works are
body
made
in the
Detailed references to
all
Bibliography below and also in the
of the volume.
From tic
fine collection.
the standpoint of literature, before turning to the
side of the collection,
writers.
There are
famous epic
may be noted
it
that this valuable
works of the greatest Persian
of codexes represents the
five different
who
of Firdausi,
artis-
body
classic
manuscripts (Nos. 1-5) of the
flourished about 1000 a.d.
Six
1) contain the entire works of Nizami or parts of the writings of that celebrated romantic poet of Persia,
manuscripts (Nos. 6-1
who
died about the year 1203.
-1275), renowned above
all in
Next
Jalal
ad-Dln
RumI (1207
the East as the Persian mystic
by a volume (No. 12) copied two centuries death and well worthy of note. Then Sa'di (about
poet, is represented
after his
1184-1291 is
a.d.),
the centenarian poet and moralist whose
certainly better
known
in the Orient outside of his
name
country
than that of any other Persian author, claims two fine illustrated
and illuminated volumes (Nos. 13-14).
Amir Khusrau Hindustan
of
in the thirteenth
Nizami’s romantic types,
(No.
15),
who won
Delhi,
is
The
Indo-Persian poet
well-deserved
dating from the time of the last of the
which
in
century through his recastings of
represented by a beautiful
perors and bearing witness, by to the reverence in
fame
its
little
book
Mughal em-
exquisite paintings and finish,
this Persian-Indian
bard was held
—a
reverence that can best be appreciated by the few Westerners
who have
paid a
visit to his
tomb near
Delhi.
Persia’s far-famed
INTRODUCTION
XX
one of the great musical
lyrist Hafiz, in the fifteenth century,
poets in
all literature,
has
hundred and more odes incor-
five
porated in a small manuscript (No.
16), delicately outlined
ornamental flowerets and adorned by small miniatures
The works
by
to illus-
trate the subjects of the
poems.
classic poet of Persia, the
year of whose death corresponds with
of Jam!, the last
the date of the discovery of America, are here in four manuscripts (Nos. 17-20),
as
one of which (No. 17)
belongs to Jami’s
it
own
is
peculiarly valuable,
lifetime.
Outside the realm of Persian works, there are two very rare illuminated and illustrated manuscripts in Jaghata’i the language of Eastern Turkistan (Nos. 21-22).
Turkish,
They both
contain lyric works of the laureate-minister and poet-statesman
Mir
‘All Shir Nawa’i,
Herat
at the court of
who in
died in 1501 after a renowned career
Afghanistan prior to the founding of
the empire of the Mughals in Hindustan, and whose fame lasts
One
in the
East even to the present time through his poetry.
of the
copies in this collection (No. 21) was transcribed a year
or two before his death
must have had
No
;
it
of Persia,
Cen-
and the adjacent domains would be complete without
a fine copy of the Qur’an.
ran collection
madan
the interest that
Muslim realm
collection belonging to the
tral Asia,
June
we can imagine
for courtier friends.
is
The
oldest manuscript in the Coch-
a specially valuable specimen of the
Muham-
scriptures in two volumes (Nos. 23-24), completed on
29, 1427,
which was transcribed by Tamerlane’s grandson,
Ibrahim Sultan, son of Shah Rukh and brother of the famous
To
royal bibliophile Baisunghar.
illustrate the
Sacred
Word by
pictures would be against the spirit of Islam, but exquisite orna-
mentation might be lent to the text
itself
in
the form of chaste
embellishment, especially to grace a copy of the Qur’an transcribed by a prince’s hand.
Not only
prince and beautifully adorned, but that
it
descended through the
it
is
this
copy written by a
has the further distinction
line of the great
Mughal
rulers
INTRODUCTION till it
reached Aurangzib, the
last of
XXI
these emperors in India.
On the back of the last leaf he records the history of the copy and the date when he made the memorandum of his reading it, in 1638 a.d., more than two centuries after the manuscript had been He was then a prince in his nineteenth year and had transcribed. The
not yet sat upon the throne.
court gilder embellished the
pages with brush-work of ornamental gold around Aurangzib’s handwriting.
A
remarkably precious manuscript of the Haft Paikar of
Nizami (No.
containing a romantic epopee on the subject
5),
of the Sasanian king Bahrain
reigned in the
fifth
Gur (‘that Great Hunter’), who
century of our era, furnishes not only a
cherished transcript of a master-work, but formed a gift a king, as
whom
it
was presented
he had appointed
memorandum that
it
to
to
Akbar the Great by
be governor
in a painted medallion
was offered as a special
in the Panjab.
on the
at
Lahore
memorandums
in the Panjab.
attest
royal ownership
;
The
the fact of
for
A
regal
page records
tribute to the sovereign.
we know
year of the gift was 1580, at which time
was
first
fit
a grandee
that
The Akbar
imperial seal and other
presentation
and prove the
and we know from court records that the
works of Nizami were among the emperor’s favorite reading. The volume descended to his grandson, Shah Jahan the MagBut the manuscript has nificent, as shown by an official signet. an additional value and
interest,
since
it
miniatures by Bahzad, the most famous of
whose death occurred about are
all
genuine,
fifty
years before.
five
rare
Persian painters,
The
miniatures
each being signed in the authentic minute
handwriting of Bahzad, which
was
contains all
— as was characteristic of him —
so fine that a microscope is
needed
to decipher the
name.
The artistic value of the collection has been indicated already, and we may be sure that books which formed part of the libraries of Oriental potentates, as shown by seals and memorandums, were choice copies. The finest in the entire set is a
>
INTRODUCTION
XXII
magnificent manuscript (No. 8) of the works of Nizami, transcribed by the famous calligraphist Sultan Muhammad Nur,
who completed
the transcript in the year 1525.
codex, which
sumptuously embellished, came from the library
is
of the Safavid kings of Persia and
the later Shahs.
was among the treasures
written on heavy,
It is
This superb
gold-frosted
of
paper,
with a different marginal color to distinguish each of the five
long romantic poems, and
which
is
But beauteous above it
is
is
incased in the original flap-cover,
a specimen of rare beauty in the
They
adorned.
all
way
are the fifteen miniatures with which
are from the
brush of Mirak, the
brated pupil of Bahzad, and the most famous of master.
artists after his
of binding.
<
Regarding
this
all
cele-
Persian
manuscript Dr.
Martin writes in terms of the highest praise when he says (1.
1
16): ‘It is
second to none of the same period; there are
certainly larger ones in existence, but
none
of finer quality with
such a profusion of architecture and such charming coloring.’
The views of the seven different palaces in which Prince Bahram Gur visits the seven princesses, his wives from the seven realms of the world, are particularly notable. < Of the artistic treatment of these themes Dr. W. R. Valentiner, of the Metropolitan Museum, says ( Bulletin of the Metropolitan Museum of Art, 8. 86): ‘These subjects, which demand a different color-scheme for each miniature to correspond with the different
and so
colors of the palaces, black, yellow, green,
among
been
always
the favorite
forth,
have
problems of the Persian
painters, but never has higher decorative value
been given
to
these manuscripts than by Mirak in this Nizami, in which the
hue of the walls
which
is
built
in the different
There are points of set.
palaces
up an exquisite symphony of
We may
art to
admire
is
the motive upon
color.’
in other
>
manuscripts of the
note, for example, the expression of the faces,
so remarkably caught in miniature, in
copy (No. 14) of a Persian
a
seventeenth-century
classic, Sa'di’s Biistan , or
‘Garden
INTRODUCTION which belonged
of Perfume,’
that of his son Aurangzlb.
XX111
to the library of
Shah Jahan and
The borders
its
of
extra-decorated insets, are unusually ornate
and
;
pages,
interest-
is
it
with
ing to observe from the well-worn condition of this copy, with sixteen
its
official
seal-impressions
and memorandums, how
it was read at the court. Another manuscript of special value (No.
extensively
hundred and
fifty
is
a Dlwan, or select volume of his lyric and mystic
It is
sixteen beautiful miniatures, which
Mongol
date
century before his
verses, and, besides being richly illuminated,
of
its
one of the four copies of Jami’s poems in
is
collection, transcribed a quarter of a
death.
more than a
years older than the preceding, as
not far from 1465, this
17),
art
is
adorned with
show strongly the
and are important for the study
influence
of the art of
painting at that time.
The be
art of calligraphy
illustrated
by the
by
still
illustrious
by the
side of miniature painting
another copy of Jami (No.
penman Mir
‘All in 1523
18),
may
transcribed
and 1524;
also
by
one of the copies (No. 21) of the poems of Mir ‘Ali Shir Nawa’i, which was copied in 1500 by the hand of the renowned ‘Ali
Mashhadi.
would be
more lacking if some notice were not taken of a special variety of art, shown by five of the manuscripts, in portraying scenes from Firdausi’s Shdh-?idmah Persia’s great national epic, composed nearly a Imperfect as
is
this account,
it
still
,
thousand years ago. the
tragic episode
Students of literature are familiar with of
Suhrab and Rustam through Matthew
Arnold’s adaptation of the story of the
who
is
Rustam.
Art connoisseurs
will
tions of this fearful scene as
Nor
unknown
heroic
son
unwittingly slain in single combat by his warrior father,
will
any
critic of
scan with interest the delinea-
drawn by the
the brush overlook,
different
among
artists.
other minia-
one by ‘All Naqi in a seventeenth-century copy of the Shah-namah (No. 4, fol. 24^). In this picture the artist de-
tures,
INTRODUCTION
XXIV picts the
manner
King Faridun, who, somewhat after the Gorboduc or distantly like Lear, has divided his
grief
of
of
realm among his three sons, and,
in
consequence of the bloody
among them,
internecine strife that arose
receives on a golden
salver the head of his youngest and best beloved son, slain
Only a great
the elder brothers.
by
miniaturist could so per-
convey the poet’s conception of a parent’s heartrending
fectly
sorrow.
made to the lovely little manubound in red leather, of the Delhi poet Amir Khusrau, as an example of Indian-Persian miniature art (No. 15). It dates from the time of the last of the Mughal emperors, Aurangzib, the hero of Dryden’s drama, whose grandsire, Jahangir, the Great Mogul,’ boasted of a knowledge of technique Allusion has previously been
script,
‘
in art that could distinguish
if
a different brush gave the con-
cluding finish to an eyebrow in a portrait. 1
The
delicacy of
touch in the miniatures of this particular manuscript bears witness to the several artists
nonpareil of
workmanship
Aurangzib’s court
at
attained
who have
by the
affixed
their
signatures to the paintings.
In addition to the manuscripts themselves must be mentioned a series of twenty-nine single-page paintings of the seventeenth
and
eighteenth centuries, most of which are not drawn from manuscripts,
but were specially prepared as examples of
the
pious dervish, and style
his
Emperor Jahangir, another painting
depicted as reverently paying his
is
still
a third
lected for reproduction in
1
D,
p.
respects
which represents
in
in
to
a
splendid
mounted on horseback. < Dr. be among the six which he secolor in his second volume (vol. 2,
son Shah Jahan,
Martin chose two of these
pi.
those
may be mentioned
from India, dating from the Mughal period, a fine portrait of
Five of
Among
these are in the Persian style of Rida ‘Abbasi.
which he
art.
79
pi. ;
E,
p.
87).
to
>
The Cochran
See E. B. Havell, Indian Sculpture and Painting,
set contains four-
p. 199,
London, 1908.
INTRODUCTION
XXV
teen other single-sheet paintings in the Indian style, and also
seven beautiful specimens of Persian calligraphy.
Enough has been historic
said
importance of
to
the
show the collection,
artistic,
the
literary,
details
and
regarding
which may be gathered from the descriptions of the separate manuscripts in the ensuing pages.
PERSIAN MANUSCRIPTS
I
FIRDAUSI
.
:
PERSIAN MANUSCRIPTS FIRDAUSI (about 935-1025 a.d.)
Persia’s celebrated epic poet, Firdausi, author of the Shdh-ndmah, or
1
Book
of Kings,’ a
work which ranks among the great
epics of the
world, was born about 935 a.d. in the ancient city of Tus, whose ruins are still to be seen a few miles distant from Mashhad in Northeastern
By descent
he belonged to the landed gentry of Iran and had, an inherited interest in his country’s great past. For fully thirty-five years, or from about 974 to 1010, Firdausi worked upon his famous epic, a poem of nearly sixty thousand couplets. Persia.
therefore,
Much of
of
it
he composed at the court of the great conqueror
Ghazni, in Afghanistan, a patron
who was
who
ill
Mahmud
rewarded his labors and
consequently held up to scorn by the poet in a satire as im-
mortal as the epic
itself.
Fleeing from the monarch’s wrath he found
himself, at the age of seventy-five, a wanderer without proper
means
of
support; but ultimately he received shelter at the court of a minor Persian ruler in Tabaristan, where he composed a notable long romantic poem, Yusuf and Zulaikhd, on the love of Potiphar’s wife for Joseph, as recorded in the Qur’an after the Bible. Returning at last to Tus, Firdausi died in his native city at an advanced age in 1020 or 1025 a.d. The Shdh-ndmah is a poetic chronicle based upon older prose annals, now mostly lost. It portrays the national history of Iran from the age of the mythical ruler, Kaiumars, or Gayumart, whom tradition places about 3600 b.c., down to the death of the last Sasanian King, the historic Yazdagard III, in 641 a.d., and the events directly preceding the fall of
the empire before the Arabs.
The main
stages of the epic, so fully illustrated
by the
paintings
Shdh-ndmah manuscripts, are as follows After beginning with the primeval ruler Kaiumar§, the poem describes the kingship of Hushang, who was the discoverer of fire, of Tahmurasp, the binder of demons,’ and of Jamshid, sovereign of the in the present collection of
‘
S
;
PERSIAN MANUSCRIPTS
6 golden age.
A
foreign usurper,
Dahhak, or Zahak, representing the
tyrannical rule of Babylon and Arabia over Persia, seized the throne
and reigned for a legendary period of a thousand years. The power of this monster was destroyed at last by a national hero of Iran, the noble Faridun, only to be followed by an internecine strife between the deliverer’s three sons, Iraj,Tur, and Salm, who succeeded respectively Iraj was slain by his to the kingdoms of Persia, Turan, and China. two brothers. This deed of blood started the inveterate warfare between Iran and Turan, which forms the burden of a large part of the epic. King Mintichihr ultimately mounted the throne of Iran a romantic episode then tells of valiant Zal, whose love for Rudabah gave birth to a son, Rustam, the hero of the epic. Rustam’s martial exploits, herculean labbrs, and signal triumphs (one being even the tragic slaying in battle of his
know) run almost
own son Suhrab, whom he
to the -end of the
poem.
did not
Kings follow kings
in
the order preserved by tradition until the rise of the Prophet Zoroaster,
some three
The appearance
centuries before the invasion of Alexander the Great. of this ancient
prophet gives occasion for chronicling
the reign of his patron, King Gushtasp, and the latter’s son, Asfandiar,
crusader for the faith, as well as for recounting the religious wars
between Iran and Turan, creed.
The
still
more embittered by the
latter part of this reign of the
difference of
Kaianian kings corresponds
with the close of the great Achaemenian empire of Persia;
and at
rimed chronicle begins to pass from the realm of legend into the domain of history. The overthrow of the Kaianians this point the
was brought about by the invasion of Alexander the Great, followed by the assassination of Darius III (Dara) in 330 b. c. The epic narrative compresses the next five hundred years, or the empire of the Parthian Arsacids, into the briefest possible of half that period. rule,
from 226
to record,
a.d. to
among
A
summary
of the events
historic account in general of the Sasanian
about the year 650,
other reigns, that of
offers a special
Bahram Gur,
opportunity
as well as that of
Nushirwan the Just, and the epic brings the story down to the murder of Yazdagard III (in 641 a.d.), the last king of Iran before Persia was conquered by the Muhammadan Arabs. Abundant material
is accessible in the way of editions and translations Shdh-ndmah, as shown by the bibliographical citations in the exhaustive treatise by Th. Noldeke, Das iranische Nationalepos, in Geiger and
of the
FIRDAUSI
7
Kuhn’s Grundriss der iranischen Philologie, 2. 130-211. For other details regarding Firdausi’s life and work see E. G. Browne, Literary History of Persia, 2. 1 29-147, London and New York, 1906; P. Horn, Persische Litteratur,
p.
81-114, Leipzig, 1901; E. A. Reed, Persian Literature, p. There is an abridgment of the Shah-namah in
2x4-283, Chicago, 1893.
English by
J.
and
J.
A. Atkinson (London and
New
York, 1886) and by
A. Rogers (London, 1907), and an English translation into blank verse by A. G. and E. Warner (London, 1905-); a translation into French by J.
Mohl
(Paris, 1876-1878),
and
into Italian
by
I.
Pizzi (Turin, 1886-1888).
;
PERSIAN MANUSCRIPTS
8
1 Firdausi
(c.
935-1025 a.d.)
and handsomely sian epic
Shah-namah.
:
illustrated
— A large illuminated
manuscript of the great Per-
poem Shah-namah, or ‘Book of Kings,’ carrying down to the death of Alexander, with which
the narrative
event the codex ends. first
pages of
It contains the close of a Preface, the
The manuscript belongs
which are missing.
to the latter part of the sixteenth century (being dated 1587-
1588 a.d.), and contains forty large miniatures in addition to the two illustrations on the inside of the lacquer covers. Size.
— Height
and width,
Height and width
leaf
X n
in.
(39.5
X
7!
X
in.
28.0 cm.). (30.5
X
19
Folios 596, comprising roughly about 49,000 couplets.
cm.).
A
15!
of written page, 12
between
folios
Binding. — Beautiful
1
and
2 is missing.
lacquer binding (though not the original
covers) with a golden yellow background exquisitely adorned
with delicate flowered designs on the outside and decorated
by two
large illustrative scenes
on the
inside.
The
illustra-
tion on the inside of the front cover represents a meeting
between two kings who are seated in
state,
their attendants, while officers of the
The
in review before them.
army
illustration
surrounded by are stationed
on the inside
of
the back cover represents a king under a canopy in a garden his attendants are
around him and a suppliant kneels in
obeisance before him. to a rebinding
and
The manuscript has been subjected
to a
trimming
of the pages,
which gives
the copy a neat appearance, but has unfortunately resulted in cropping
many
some
of the folios too closely, so that a part of
of the catchwords at the
pages has been cut
off,
pieces has been slightly clipped,
the margin of
fol.
bottom
of the right-hand
the top of the illuminated
and the
figure of a
49a has been almost trimmed
off.
title-
man on
FIRDAUSI
— Large
Writing and Paper.
9
clear Nasta'llq hand, 21 lines to
the page in four columns with marginal rulings of blue, red,
The paper
and green.
is
of a light creamish tint, of
sheen, pure-laid on a rather cross screen
of fairly con-
it is
;
medium
stant composition and of a comparatively light weight.
—
Date and Scribe.
Sabzavar,
book
which the codex
is
of
first
is
divided, as follows
is
Sabzavar,
of
name
with the scribe’s
script in the colophon of the
name
scribe’s
on
is
most humble Shah
The
The date
scribe.’
given at the end of the manu-
596a
fol.
the
1 :
by the humblest
finished with God’s help
Muhammad
Shah
The
Muhammad
Shah
161a, at the end of the first of the four sub-
fol.
divisions into (first)
the manuscript (1587-1588
of
of the copyist,
both given.
are
recorded on
itself
The date
and the name
a.d.)
‘
:
Finished by the hand
Muhammad
of Sabzavar,
the
(may God forgive him !), in the year 996 A. H. = 1587The district of Sabzavar is in Khurasan, north1588 eastern Persia, between Teheran and Mashhad. scribe
[
a.d.].’
Memorandums. folios (fol.
one on
fol.
— There are 1 a,
ia
seal impressions
stamped on several
The
177 a, 327 a, 331a, 417a, and 596a). is
the signet of
Muhammad
oval
Saif ad-Din, the
date in the body of this seal being 1200 a.h.
=
1785 a.d.
The octagonal seals on folios ia, 327 a, and 596a are identical with each other, but in them only the name Muhammad ’
‘
can be deciphered.
The square
seal
surmounted by a triangular crown, it
on
fol.
not
177a, which
is
but above
legible,
are written, in an inverted order as in a seal, the figures for
1222 (a.h. of
is
’
=
1807 a.d.) and the words ba ism,
(likewise half in inverted order.)
two or three words, not quite is legible.
there
is
distinct,
Above
‘
in the
name
this there are
but mushir,
1
minister,’
In two spaces in the body of the text near this seal
twice written in a bold hand in Persian
Zadah Yunis.’
The
oval seal on 417a
is
not
‘
Shah
[sic]
legible,
but
IO
PERSIAN MANUSCRIPTS appears to
from the oval one on
differ
fol.
ia
above
;
it
are
written in inverted order as in a seal the figure 1222 (a.h.
=
1807 a.d.) and the words ba ism likewise half inverted
as in a seal, as in the case of that it
the figures for
marks
of a
little
On
11.’
‘
square
on
folios
seal,
177 o; and above
fol.
331a and 396a are the
but
On
has been erased.
There
illegible.
impression of a third large square seal on
is
the
596a, but
fol.
it
the margins of several pages are ex-
modern terms
planations of Persian words or more
for the
ones that are comparatively obsolete.
— The epic history
Subject and Arrangement.
The codex
the death of Alexander the Great.
portion of the so-called to the manuscripts of the
in British
Museum,
fortunately missing
‘
Older Preface,’
poem
down
to the
list
first
itself
followed by
opens on
fol. 1 b
The manuscript sions,
is
prefixed
part of this
of kings
ning only with the Sasanian monarchs I,
to
contains a
often
ditional length of their respective reigns, the
Shapur
down
Rieu, Cat. Pers. Mss.
(cf.
534), but the
p.
of Persia
Bahram and
is
with the
list
untra-
here begin-
Hurmazd I, son of The poem
the rest.
with the lines
divided into four unequal parts or divi-
each of which
is
introduced by an illuminated ‘unwan,
or title-piece, as follows
:
(o)
Close of a Preface,
fol. 1 a.
—
— II 1616-4460). — Book Kai Khusrau.’ III ‘Book 4466-5560). Bahman.’ — IV Alexander.’ 5566-5960). ‘Book — The manuscript illuminated Illuminations and I (fol. 16-1610). First part of the epic. ‘
of
of
(fol.
(fol.
Illustrations.
by four
(fol.
richly
adorned ‘unwans, or
of
is
title-pieces, as introduc-
tions to the four books or subdivisions that have been
men-
tioned, each of these ornate titles occupying a third of the
page.
The
ever recurring captions or head-bands to the
FIRDAUSI
II
poem
different sections of the
are written throughout in
white ink upon a gold background and occupy the space of
two
distichs
however, on
between the two middle columns
fol. ib, is
blank, but
extra decorations because praise of
wisdom
;
the band,
;
was doubtless intended
for
heads the section relating to the
it
the writing
missing in the gold band
is
an additional embellishment to the
body
of the text the verses preceding the miniatures, or in
some
As
in fol. 3486.
and following a miniature, are written
cases both preceding in
small square spaces delicately adorned with floweret
designs of a violet and reddish color
other manuscripts as well.
on the inside
— a feature found
in
Besides the two illustrations
of the lacquer covers, described above,
under
Binding, there are forty full-page miniatures to illustrate
These
the text.
all
appear to be the work of a single artist
and are markedly Mongolian-Persian
The
in style.
as a rule are rather large, boldly drawn, without
figures
overmuch
attention given to minor details. I
(a)
fol. ib.
Illuminated title-piece to the
first
subdivision of
the work. 1
fol. 3&.
Kaiumarg, the
2
fol.
Dahhak, the tyrant
9 b.
first of
the Persian kings.
of
Babylon and Arabia, had and
foreseen Faridun, his vanquisher, in a dream,
learns from his priests the import of the vision.
3
fol-
i5 a
-
Faridun
is
about to slay the serpent-shouldered
Dahhak, but decides
him
to bind
for
thousands of
years.
4
fol.
22 a.
Iraj, the
son of Faridun,
is
slain
by
his brothers
Salm and Tur. 5
fob 2> 2a
-
The fabulous
bird Simurgh restores the youthful
Zal to his father Sam,
an infant on account
who had abandoned him when of his
having been born with
white hair. 6
fol.
49a.
The marriage
of Zal
and Rudabah.
(It
may be
observed that in cutting the margin of this page a
;
PERSIAN MANUSCRIPTS
12
part of a man’s figure has been trimmed
off,
leaving
the nuptial torch, his hand, and a portion of the turban.) 7
fol.
61 b.
8
fol.
67 b.
9
fol.
77 b.
10
fol.
886.
Naudhar, captured by Afrasiab, is put to death. Rustam in combat with Afrasiab seizes him by the girdle and lifts him from the saddle; Afrasiab is saved by the girdle
11 fol. 1036.
12
fol.
1136.
Rustam
s
breaking.
White Demon. Kai Ka’us (a pioneer in aviation !) attempts to fly to heaven by fastening young eagles to his throne. (The eagles endeavored to reach the haunches of mutton stuck on the points of four spears at the corners of the throne and thus raised it to the sky but the eagles, before long, became exhausted, and then Kai Ka’us fell from aloft, but escaped death.) Rustam in combat kills Suhrab, his son. killing the Dlv-i Safid, or
Siawush passes through the fire-ordeal to prove calumnious charge that he was
his innocence of the in love
13
fol.
125a.
with his stepmother.
Siawush
displaying
his
slain at the
hand
skill
polo
in
before
Afrasiab.
14
fol.
15
fol.
II
Siawush
1546.
Plran taken and bound by Glv.
(6) fol. 1616.
fol.
17
fol.
18
fol.
19
fol.
20
fol.
of
Illuminated title-piece to the second subdivision of the work, or
16
Gurwi Zirah.
1396.
‘Book
of
Kai Khusrau.’
Rustam and come to congratulate Kai Khusrau on being made King. Piran’s night attack upon the Iranians. 177 b. 201a. Ashkabus slain by Rustam. 213a. Rustam catches with his lasso the Khaqan, or Ruler of China, and pulls him down from his white his father Zal
1626.
elephant.
Rustam
222 b.
wrestling with
the picture
is
with the words, ‘O God, [
21
fol.
Blzhan
232a.
is
of
Turan.
Muhammadan
(In flag
O Muhammad!’)
brought before Afrasiab by Garslwaz,
the latter’s brother, and for
Puladwand
to be noticed a
is
threatened with death
having entered the palace of Manlzhah, the
daughter of Afrasiab.
FIRDAUSI
13
Rustam taking Bizhan out of the pit where he had been placed by Afrasiab. Rustam in combat with his unrecognized grandson Barzu, the son of Suhrab, on horseback. The mother of Barzu explains that the man with whom Rustam is fighting is the son of Suhrab, and therefore Rustam’s own grandson.
22
fol. 243ft.
23
fol.
258a.
24
fol.
277a.
25
fol.
2946.
Rustam
wrestling with Pllsam.
26
fol.
313a.
Human
slain in battle
3336.
Kai Khusrau comes
27
fol.
who have been 28
fol.
345a.
29
fol.
369 b.
by Bizhan. Gudarz and
to
sees those
slain.
Shidah slain by Kai Khusrau. Afrasiab and Garsiwaz put to death
by Kai
Khusrau. 30
fol.
389a.
Gushtasp
killing a dragon.
31
fol.
417a.
Asfandiar
kills
a Simurgh bird which attacks
his chariot.
32
fol.
442a.
Rustam
shoots Asfandiar in the eyes with an
arrow, as the Simurgh had bidden him. Ill
(c) fol.
4466.
Illuminated title-piece to the third subdivision of the work, or
33
fol.
462a.
34
fol.
483a.
Bahman
‘Book of Bahman.’
the guest of Lulu.
Rustam, though dying,
by an arrow
transfixes
through the plane tree his half-brother Shaghad,
who had 35 36
treacherously caused his death.
fol.
500a.
Faramarz
fights
fol.
518a.
Bahman
in
(There
is
with
the
Bahman and
mausoleum
is slain.
of
Gushtasp.
a verse on the sarcophagus to the effect
that those
who have departed from
this life
have
passed through dust to paradise.)
IV
37
fol.
SSS«.
Bahman swallowed by
((f)
fol.
5566.
Illuminated title-piece to the fourth subdivi-
38
fol.
567a.
sion of the work, or
a dragon.
‘Book of Alexander.’
Alexander lamenting the death of Darius III,
who has been
assassinated
by two
of his
own
treacherous vizirs.
39
fol.
588a.
40
fol.
595a.
Alexander and Khidr, the Sage of Eternal Youth, at the Fountain of Life.
Death
of Alexander.
PERSIAN MANUSCRIPTS
14
2 Firdausi
Shah-namah, or
:
of Persia,
‘
Book
richly ornate borders
miniatures.
poem
of Kings,’ the great epic
complete in a manuscript dated 1602
a.d.,
with
and illuminated by seventy-two small
It carries the narrative to the end, including
the circumstances following the death of Yazdagard, and
Of the Preface only the
gives also Firdausi’s Epilogue. last
page containing the
from Farldun to
of kings
list
Yazdagard III has been preserved
the preceding ten folios
;
The manuscript is contemporary with the reign of the Mughal Emperor Akbar the Great,
are missing. close of the
and
in style it belongs to the
of the Size.
Mughal
— 13! X 8j
in.
X
(35.5
21.5 cm.).
written page, respectively, 8 Folios
that
is
X
There are errors
581.
Height and width of in.
4j
X
(20.3
11.5
and
fol. 2
manuscript
and the
first
Two
ten folios
of couplets in the
about 57,000.
is
— Heavy
color, richly
3,
The number
of the Preface are missing.
cm.).
the Persian numbering
in
inserted between the lower left-hand columns.
leaves are lost between
Binding.
group of Indian manuscripts
period.
Oriental leather binding of a golden
embossed
any red leather
finish
in gilt
brown
on the outside, with a mahog-
on the inside and ornate tooling
in
various colors.
The pressed
and outside
the covers, with medallions and paneled
borders,
is
of
very
fine.
leather
work on both the
inside
The codex has been bound a second
time and subjected to a very slight trimming.
Writing and Paper.
— Written
in a
handsome Nasta'llq charpage
in four gold-
columns with rubric section-headings.
The paper The
acter, rather small in size, 25 lines to a
ruled is
of the finest quality
and each written page
is inset.
decorative margins which form the borders are of a salmon-
FIRDAUSI
15
pink color and are embellished in highly ornate fashion, with varied designs of animals, birds, and flowers, outlined in
No
gold.
two pages are exactly
a whole
is different in
codex.
The
and the grouping as
alike,
each of the four subdivisions of the
three fly-leaves at the front and the back of
the codex are of a different quality from the
and are of a
later date,
Date and Scribe.
— The
though one
date
is
in
body
each case
of the
is
the colophon on
in
work,
rather old. fol.
581 a
Muharram, ion a.h. [= d.].’ The copyist’s name is likewise given in June 21, 1602 A. this colophon as Kamal ad-Din bin Ibrahim. On fol. 186a, as
‘
Saturday, the
year
is
the seventeenth of the
‘
randum
— At the top
work
in Persian stating that the
Below
illustrations.’
[sfc]
Crown
given
this
‘
is ‘
contains seventy-
another
Persian
Farhad, the son of
1879
a.d.].’
memorandum in Persian in still the same a comment on the miniatures as follows
cursive
18,
is
A
third
hand adds
The painting
in
Chinese work; in that territory the beard
is
‘
:
book
memo-
Prince, duly purchased this on the 25 th of Rabl‘
1296 A.H. [= April
as-Sani,
this
is
of the first older fly-leaf is a
entry in the same hand stating that the
subdivision
first
month Shawwal,’ but no
added.
Memorandums. five
of
colophon at the end of the
in a small
a date,
day
first
very scanty, and for that reason the artist has everywhere
drawn Rustam without a beard
Rustam fol.
as beardless.’
3490 and
354ft,
It
may
it
;
is
absurd to paint
be noted, however, that on
Rustam has a beard. The great epic poem
Subject and Arrangement.
—
of Persia in
nearly sixty thousand couplets, including Firdausi’s Epilogue (cf. tr.
the
‘
Mohl
7.
407-409
;
tr.
Pizzi, 8.
472-474) and the end of
Older Preface,’ the portion devoted to a
from Farldun to Yazdagard that probably contained the
III, ‘
list of
the kings
the preceding ten folios
Baisunghar Preface
’
being
:
PERSIAN MANUSCRIPTS
i6
In this copy four subdivisions are marked, each
missing.
introduced by an ‘unwan, or illuminated head-piece. beginnings
a
these
of
Close of a Preface.
(fol. ia).
parts
different
—
are
The
follows
as
I (fol. i6-i86a).
The
— II The story 1866-3090). Bizhan and Manizhah. — III 3096-4570). The Reign of Gushtasp. — IV King Anushlrwan the 4576-5810). opening of the poem.
of
(fol.
(fol.
(fol.
Just.
— In addition to the ornate bor-
Illuminations and Illustrations.
ders described above and the illuminated page-headings as
introductions to the four separate subdivisions
made
in the
manuscript, there are seventy-two small miniatures, which are called
the
first
‘
Chinese work
in the Persian
’
these paintings are perhaps the
style,
however,
seem to show a strong Indian influence and
work
who was in Northern They all seem to be delicate in
memorandum on In
older fly-leaf, as noted above.
of a
Mongolian or Turkistan
India, though he
the
work
Persia as well.
of a single brush,
form and in execution.
pies about one-third of the page,
knew
artist
and are
Each miniature occu-
and the shape
is
not square,
but in three panels, usually with the middle section considerably larger than the side sections.
near the miniatures, the text
is
On
fol.
786 and 418a,
embellished by setting some
of the verses in ornamental squares, a feature
more com-
mon
in illustrat-
in other
ting the
manuscripts.
Shah-namah
is
Somewhat unusual
the introduction, at the close of each
of the first three subdivisions of the
representing
a
conventional
scene
work, of a painting
between
two
lovers.
Particularly noteworthy are the beautiful designs in gilt
on the salmon-pink margins
of
each page, because they show
the greatest variety in conception, no two being exactly alike.
Up
to
fol.
447a the outline of the figures
sharpness by a black ink pen-line.
is
given
FIRDAUSI I
(a)
17
Small illuminated bird design below the
fol. 1 a.
list
end of the Preface. to the Shah-namah.
of the Persian kings at the ( b)
fol. 2 a.
1
fol. 2a.
Illuminated title-piece
Kang Kaiumarg, the
first
of the line of Persian
kings. 2
fol.
Jamshld, the ruler of the Golden Age, sitting
3 b.
on
his throne.
the divs,
(In the
‘demons,’
fol.
6a.
fol.
27 a.
5
fol.
35a.
6
fol.
37a.
4
and
‘birds,’
paris,
are shown Dahhak, the tyrant of Babylon and Arabia, from whose shoulders serpents grew, and whose cruel sway over Persia lasted a thousand years. Iraj, the son of Faridun, slain by his own brothers Salm and Tur. King Minuchihr on his throne. Zal is restored by the fabulous bird Simurgh, to his father, Sam, who had abandoned him on as his servitors.)
‘fairies,’
3
upper part of the picture,
murgh,
account of the child’s having been born with white hair. 7
fol.
42a.
8
fol.
52a.
Zal woos the beautiful Rudabah.
The birth of the hero Rustam through an incision made in his mother’s side. The fabulous bird Simurgh appears with timely
Caesarian operation g
fol.
64a.
is
help.
(The
illustrated in the picture.)
In a battle between the Iranians and Turanians, in the
though
time of Kai Qubad, the heroic Rustam, still
a
mere youth,
lifts
leader of Turan, from his saddle
Afrasiab,
by
the
the girdle;
but the foeman escapes, as the belt breaks. 10
fol.
79 a.
Kai Ka’us attempts to fly to heaven by fastening young eagles to his throne. The eagles try to reach the haunches of meat which he caused to be fastened above on spear-points, and thus they raise the throne to the sky but King Ka’us (the first aviator) comes to grief. Rustam in combat kills Suhrab, being unaware that he was slaying his own son. Siawush sends a message to Afrasiab of Turan by Sangah of Shavaran. ;
11
12
fol.
fol.
93a.
107a.
PERSIAN MANUSCRIPTS
i8 13
fol.
Gurwi Zirah puts
120 b.
to death Siawush,
whom
he
has captured, and causes the blood to be caught in a basin to send to King Ka’us of Iran. 14
fol.
135^
15
fol.
1426.
16
fol.
150a.
17
fol.
167 a
18
fol.
176 a.
19
fol.
185 a.
Kai Khusrau sitting in state. Farud in battle slays Zarasp, the son of Tus. Battle between Gudarz and his followers and Piran of Turan.
Rustam in battle with Ashkabus. The Ruler of China taken prisoner by Rustam
.
with his
lasso.
The demon Akwan Dlv throws Rustam
into
the sea.
20
Conventional scene between lovers at the close
fol. 1 86a.
of the
first
subdivision of the work.
(See
comment
above.)
to
fol.
Illuminated title-piece to the second subdivision
186&.
of the work, beginning with the Story of Bizhan
and Manizhah. 22
fol.
200 a.
Rustam Rustam
23
fol.
2346.
Balling of Pllsam
24
fol.
237 b.
21 fol. 198 b.
25
fol.
248a.
26
fol.
261a.
27
fol.
272 b.
rescues Bizhan from the well. in battle
with Afrasiab of Turan.
by Rustam.
Battle between Barzu, the grandson of Rustam, and Afrasiab of Ttiran. Human slain by Bizhan. The Turanian leader Piran killed by Gudarz in
combat.
King Khusrau
of Iran slays
Shldah of Turan
in combat.
28
fol.
274 a.
29
fol.
290 a.
3°
fol.
309a.
Battle between Kai Khusrau and Afrasiab. Khusrau kills Garslwaz and likewise Afrasiab as the latter comes out of the water. Conventional scene of two lovers at the close of the second subdivision of the work. (See remark above.)
(d) fol. 3 ° 9 &.
Illuminated title-piece to the third subdivision of the work, beginning with the
31
fol.
309&.
King Gushtasp
Reign of Gushtasp.
(the patron of Zoroaster)
on
his throne.
32
fol.
3196.
Gushtasp throws
his son Asfandiar into prison.
FIRDAUSI 33
fol.
Asfandiar
326 ft.
!9
a wolf on the
kills
first
stage of his
seven adventures.
34
fol.
Asfandiar
326 ft.
kills
a lion and lioness on the second
stage of his seven adventures.
35
fol.
Asfandiar
327a.
kills
a dragon on the third stage of
his seven adventures.
36
fol.
328a.
Asfandiar
kills
a sorceress on the fourth stage.
37
fol.
3286.
Asfandiar
kills
the Simurgh on the fifth stage.
38
fol.
33 o 6
Asfandiar
kills
Gurgsar of Turan on the seventh
.
stage.
39
fol.
349
[The sixth stage
Rustam
Two
fol. 1 6-30.
The
subjects are as follows illuminated
exquisitely
II
(b )
2
160.
fol. 31ft.
fol.
466.
—
rich
colors
and showing four ornate medallions that give the name of Nizami as author and praise him in highest terms. An old widowed woman complains to Sultan Sanjar of ill-treatment by one of his officers. Illuminated title-piece to Khusrau and Shirln. King Khusrau catches sight of Shinn bathing blue and gold,
of
fol.
:
introductory
pages to Makhzan al-Asrar with
1
has been
reproduction by Valentiner, Bull. Metropol.
selected
a l-a2 )
in size they average
< Miniature no. 7
about three-quarters of a page.
I
and
in a pool.
3
fol.
72 b.
goes
Shirln
to
the wonderful
see
Farhad, her admirer.
you had
rock-
sculptor
(In the tiny pictures
the rocks in the painting ‘If
by the
(near Kirmanshah)
carvings
is
on
the rimed couplet
real love for Shirln,
you would not
see her picture in the eyes of men.’)
4
fol.
816.
Khusrau comes
to the Palace of Shirln as she
stands in the balcony window.
over the doorway
inscription
(The arabesque calls
him ‘the
Just King.’) 5
^1. 956.
Khusrau and Shirln united arabesque over the door
is
in wedlock.
(The
the same as the
preceding.) III
(c)
fol.
1096.
6
fol.
1200.
Illuminated title-piece to Laila and Majnun.
As children Laila and Majnun
neglect their
studies to devote their hearts to each other. 7
fol.
1300.
Naufal,
the
Arab
chieftain,
champions in Majnun.
battle the cause of the love-distraught
woman
leads in chains the lovelorn
Majnun, who has sacrificed himself man whom she had taken prisoner.
to free
a
yw
King Khusrau seated on Painting by Mirak, Ms. No.
8, fol.
his
Throne
6ia (see page 65)
9
NIZAMI fol.
The
1566.
57
chaste meeting of Laila and
Both swoon
Majnun.
at seeing each other after their long
separation.
IV
[(d)
fol.
10
fol.
11
fol.
between 164 and 165 missing. Decorative title-page to Haft Paikar is thereby lost.] 180&. Bahram Gur saves his crown by killing two lions.
Bahram
1846.
Gtir’ssweetheart,Fitnah (‘Mischief’),
performs the feat of climbing a ladder with a cow
on her shoulder.
(This incident
is
a familiar
The him the Just King.’
story in the Persian accounts of Bahram.) inscription
12
fol.
Bahram
196a.
on the door visits
calls
‘
the Princess of the Yellow’
Palace on Sunday. 13
fol.
202a.
14
fol.
221 b.
Bahram visits the Russian Princess in the Red Palace on Tuesday. (The title ‘the Just King’
is
seen in the inscription over the doors.)
Bahram
learns a lesson about his unfaithful from the action of an old shepherd who punished his sheep-dog that was unfaithful to vizir
the charge of the flocks.
VA
(e)
Decorative head-piece to the First Section of
fol. 2 28b.
the Book of Alexander, here caMedSharaf-namahd
There is no title-piece to the Second Section (or Iqbal), as the folio that contained it is missing between folios 31 1 and 312.
Iskandarl.
15
fol.
Death
2586.
of Darius III (Dara) in the presence
of Alexander,
who then
two treacherous 16
fol.
Alexander,
271 b.
leads to execution the
assassins of the monarch.
disguised
as
a
legate,
visits
Queen Nushabah, who recognizes him and proves the fact by his portrait, which she had. 17
Vs
fol.
Khaqan of China. The decorative title-piece to the Second Section
Alexander’s visit to the
2gib.
[(/)
of the loss,
18
fol.
Book
is
fol.
330a.
is
missing through the
Alexander learns from a shepherd the gate
318a.
by which 19
of Alexander
already noted, of a folio between 31 1-3 12.] to enter the city.
(‘The Just King’
inscribed over the door.)
Alexander consulting the Seven Wise Men.
PERSIAN MANUSCRIPTS
58
8 Nizami
Khamsah,
:
A
or works complete.
magnificent manu-
script of the early sixteenth century, being dated as
by the famous
pleted in 1525 a.d., and copied
Sultan
Muhammad Nur
it is
;
adorned with
com-
calligraphist
fifteen exquisite
miniatures, specimens of the finest workmanship of the
contemporary Bahzad
now
assigned
‘
the renowned Mirak,
among
highest
< These
school.
masterpieces are
by Martin, Miniature Painting, all
vol. 1, p. 52, to
the Carpaccio of the East,’
who ranks
Persian painters except Bahzad, and
appears to have been a pupil of that teacher.
Regarding
superb codex, which came from the library of the Safavid
this
among
kings of Persia and was
Shahs, Dr. Martin writes that
same period
;
but none of tecture
the treasures of the later
it
‘
second to none of the
is
there are certainly larger ones in existence,
with such a profusion of archi-
finer quality,
and such charming colouring and
perfect condition,
Cf. also Martin, op.
in a splendid
cit.,
1.
1x6.
furthermore,
;
it is in
contemporary binding.’
>
Particularly noticeable
also is the gold-frosted paper with a different
The
color for each of the five romantic poems.
marginal original
flap-cover binding furnishes a fine example of Persian art in that line of production. Size.
— 12! X 8f in.
(17.8
folio
Binding.
X
in.
(32.6
X
12.0 cm.).
22.4 cm.)
Folios 368.
between 89 and 90 and two
— Original
Persian
highly decorated.
The
;
written space, 7
X
4I
There are missing one
folios
between 176 and 177.
flap-binding
of
brown
outside covers, and
leather
the flap
to
match, are gilded and elegantly embossed with scenes comprising trees, deer, hares,
monkeys,
storks, wild ducks, a
dragon, and the fabulous Simurgh bird.
The
inside covers,
including the interior of the flap, are equally beautiful, and
NIZAMI
59
which the manuscript belongs,
furnish, for the period to
a fine example of the Oriental bookbinder’s art in applying exquisitely cut-out leather designs color.
In each case the inner
by a
embellished of gilded
field
central medallion
with smaller vignettes of
leather,
above and below
it
and surrounding
;
a pressed leather design of a deep red color, set
is
corner angles
filled
traceries cut out of the leather.
field in
these
by
The whole
inner
framed by a narrow gold border with a run-
The outer margin
ning tendril design.
liarly ornate, as it consists of
by
interrupted
this
off
with a network of kindred gold and
brown
is
of
presents a rich blue basis
delicately perforated
and bronzed
similar traceries
upon a background
of the field is pecu-
a series of fight blue panels
olive green vignettes,
and each
of
these
panels contains a Persian verse most delicately tooled in the leather
The
and
gilded.
contents of these verses in the panels beginning at
the upper right-hand corner of the front cover and reading to the left
Front cover
and then down
is
as follows
:
—
(beginning in the upper right comer).
an ornament of the page of time.
Panel
i.
‘This book
is
Panel
2.
The merit
of the
book
suited to the quality of the
is
reader.
Panel
3-
For each small
detail of it the artist has
procured limpid
gold.
Panel
4-
The sky became mother
of pearl, the sun
was made
Saturn,
Panel
5-
By
Panel
6.
For lovers each
Panel
7-
Its composition is a
Panel
8.
In wisdom the book
the cover
—
(
bound upon
Makhzan
its soft face.
leaf (of the
book)
is
a new chapter.
Treasury of the Secrets of Wisdom
al-Asrar). is
deeper than the pearl of pure
water.
Panel
9-
It is the perfect verse of
an intimate
friend.
;
;
;
;
;;
PERSIAN MANUSCRIPTS
6o
Panel
It brings a
io.
is
Back cover
hundred
but speaks only that which
ideas,
true.
(beginning at the top).
Panel
n.
Sometimes the tongue Khusrau) speaks
Panel
12.
At other times a charming word from the beloved
Panel
13.
lovelorn
lover
{i.e.
lips of
the
unveiled
is
sweetness over the
scatters
It
Shlrln)
(i.e.
the
of
memory
of
Khusrau
and Shirin. Panel
14.
It describes the story of Laila
and Majnun as a pearl
of pure water.
Iskandar (Alexander the Great),
Panel
15.
It gives a description of
Panel
16.
And
Panel
17.
Finally
Panel
18.
Panel
19.
Beyond measure and great Of the beautiful writing on
Panel 20.
It
is
how he
of
it
ultimately
ruined world
left this
and virtues. the amount
explains his kindness is
its
rose leaves
a rare picture delineated, as
it
were,
by the pen
of
Providence upon the water.
Flap cover — side Panel 21.
May
Panel
Grant
22.
(beginning in the lower right corner).
these beautiful pages
Panel 23.
And
with
Panel 24.
The
veil is raised
Panel
That from the Asaf and may gain
25.
Flap cover Panel
26.
Panel 27.
and
their unparalleled script
light to the pupil of the eye of the it
Writer
sweet virtues and comfort.
from
his face, in
hope
of the time he
may
obtain a glance
— back. From
By
that glance everlasting joy.
the gift of
God may
the prosperity of his fortune be
everlasting
Panel
28.
And may
the prayers from the lips of the people be
accepted.’
Writing and Paper.
a
medium
size
— The
and
is
It
writing
worthy
is
a beautiful Nasta'llq of
of the
Muhammad may be worth
calligraphist Sultan
stated below.
is
renown
of the
eminent
Nur, who executed noting that the
written throughout instead of chlm.
it,
letter
The paper
as
jim
is
of
a remarkable quality, heavy in weight, and the portions of
King Kiiusrau and Painting by Mirak. Ms. No.
iiis 8,
Bride Siiirin
fob
104/; (see
page
(So)
1
NIZAMI
6
the pages containing the writing are so skilfully inset into
the borders as almost to defy detection, yet the fact that
they are inset
is
proved by such &
both insets and borders are a
For each poem a
harmony with cream,
(2)
delicately, so as
saffron yellow,
(3)
The whole
is
(4)
page being sprinkled
date of completion of the copying
Rajab 931 a.h.
=
=
April-May, 1525,
is
The name
finished with God’s help
obscure Sultan
Muhammad
is
The
1524-1525 a.d.
found also 1046,
fol.
of the scribe is given in the
colophon, where the copyist speaks of the ‘
delicate
richly sprinkled with
inserted in the inscription across the miniature on
as noted below.
(1) rich
:
not to interfere with the writing.
given in the colophon as 931 a.h. year,
inset page.
the miniatures, has been employed
salmon pink,
Scribe. — The
same
;
different colored paper, always in perfect
flakes of gold, the written portion of the
Date and
the borders
and more opaque than the
blue, (5) light cream.
more
basis
having
laid paper, pressure
probably been applied to give the smooth finish are slightly heavier
At
folio as 143.
by the hand Nur.’
work
of the
as being
poor and
This well-known
callig-
was the son of the famous penman Mashhadi, and was a pupil of his father, who lived at the court of Tamerlane’s great-grandson, the Sultan Husain Baiqara (who raphist
ruled at Herat, 1469-1506).
temporary
known a.d., it is
to
of
and was himself something
work
of
still
=
1494
Furthermore, another famous
and the handwriting
on that particular page as being
*
entirely
Mahmud.’ Mahmud was Mashhadi and was an eminent master
of the pupils of
is
inserted in an inscription in a miniature,
213a, referring to the gilding
in the miniature
the
is
900 a.h.
of a poet.
important to add that the name of
fol.
in
a con-
Bahzad and
the celebrated miniaturist
have copied a poem by JamI
penman, Mahmud, on
Muhammad Nur was
This
likewise one of
>
62
PERSIAN MANUSCRIPTS calligraphy and gilding, in the time of the Safavid
monarch
Shah Isma‘Il
to
war with
stated to have left
Mahmud
Shah Isma‘ 11 on going
(d. 1524).
,
the Turkish sultan Salim
I, is
and Bahzad at home, saying,
Mahmud
wish Shah
am
If I
‘
Nishapur
of
Mahmud’s death
For some account
1545 a.d.
Huart, Les Calligraphes sulman, p.
221-226,
now
makes
may
miniaturistes de I’Orient
1908;
which Martin
{op.
inscription
Memorandums. in
Nizami,
on
fol.
— On
his
1.
,
117,
name
11
3-6)
.
Mahmud
1 502 by Shah
has been
in the arabesque
213a.
the back of the
Persian stating is
cit.,
41; the
1.
Mahmud who
well be connected with the
11 .
is
‘All
also the
*
had sixteen miniatures,
shown by the Persian number given
them (No.
2. pi.
:
—
title-pages to
introduction
to
the work the
and Makhzan
al-Asrdr. 1
fol.
17 a.
(c)
fol.
33&.
An old woman complains to Sultan Sanjar about an injustice committed by one of his officers.
II
Illuminated
title-piece
to
Khusrau
and
Shinn. 2
fol.
Khusrau catches
50a.
she
1
in 1527 a.d.
;
later
that miniature
Bahram Gur
in
the Sandal Palace
Painting by Mirak, Ms. No.
8,
fob 2306 (see page 66)
>
NIZAMI 3
Khusrau seated upon
64a.
fol.
65
reproduced in Martin, 4
97 a, left.
Shlrln goes to see the wonderful
74a.
fol.
:
PERSIAN MANUSCRIPTS
66
And bright is that mansion over which moon is passing.’ (The reference is respectively to Bahram and the Princess.)
Bahram Gur in the Yellow Palace on Sunday. The arabesque inscription is interesting as containing an allusion to the delineator Mahmud, as mentioned above in It
scribe.
reads
connection with the
substance
in
‘The command regarding
dome has been obeyed, and which
added,
is
follows
the inscription,
altogether
is
as
gold-encrusted
this
work
the
of
Mahmud.’ picture
10
fol.
216 b.
is
(The lower left-hand figure in the probably a dancing-boy with curls).
Bahram Gur in the Green Palace on Monday. The inscription over the doorway reads Over ‘
:
the emerald portico
is
inscribed in gold
:
“Noth-
ing but the goodness of the generous remains.”
Red Palace on Tuesday.
Over the left-hand doorway is an invocation to O thou Opener of Doors Bahram Gur in the Turquoise Palace on Wednesday. Over the pavilion is written ‘The foundation of this turquoise dome they have laid and have made a place to entertain the God,
12
in the
’
’
‘
!
lovers together.’
Bahram Gur
of this
4
fob 33&-
How
a hunter was drowned in a well.
trate the story told to
drowned
in a well that
Bahram about
(To
illus-
the hunter
was covered with an earthen
decoy animals that came to drink. A wayfarer uses the branch of a tree in trying to find the missing man’s body.) < Signed near lower right-hand jar so as to
corner 5
fob
47
;
Divan of Hafiz, London, 1897 Leaf, Versions from Hafiz, London, 1898; and see furthermore, Pizzi, Storia della poesia especially Payne, Hafiz, 1901 persiana, 1. 302-347, Turin, 1894; Horn, Geschichte der persischen Litteratur, ;
;
p. 114-122, Leipzig, 1901
Hafiz, Berlin, 1908.
;
F. Veit, Platens
N achbildungen aus dem Diwan des
HAFIZ
129
16 Hafiz
:
Diwan, or complete poetical works poet
lyric
An
Persia.
of
of Hafiz, the great
interesting
approximately to the end of the eighteenth or
belonging
the beginning of the nineteenth century. atures, seventy-five in
number, painted
almost
in
It is rich in mini-
one of the typical
The white-bearded man
styles of Persian art. in
manuscript
small
that figures
the illustrations appears to represent Hafiz in
all
his older years. Size.
— 7j X 4I 2|
in.
(=
in.
13.9
To
figures.
(=
X
this
18.0
X
7.4 cm.).
10.7 cm.)
;
written surface, 5!
Folios 365,
numbered
X
in Persian
count should be added the seven
folios of
the Preface, which are not numbered, though apparently
copied
Binding.
—
by the same hand. Rebound in a very dark brown Oriental
with stitched woven bands in Shiraz!
bound
The
in opposite the illustrations.
leather,
and with
style,
tissues
inner covers are
overspread with a plain dull crimson leather. Writing and Paper. in
— Good, clear Nasta'liq, u
lines to
two columns separated by an ornamental
and framed
in rulings of gold, green, red,
a marginal line of gold and black beyond
;
a page,
tendril
and
band
blue, with
a powdering of
Hafiz in
The name of the various poems is always written in red ink. The
paper
of a
gold-dust heightens
is
very
the
written
fine light quality
surface.
;
the fly-leaves are of a
slightly heavier texture.
Date and Scribe. is
— No date or name of copyist
is
given, as there
no colophon, but the manuscript appears
to belong to
the late eighteenth or early nineteenth century (more prob-
ably the if
latter),
an inference
and
may
it
may have
been copied at Shiraz,
be drawn from the general
style.
;
PERSIAN MANUSCRIPTS
130
— On the three introductory fly-leaves are verses
Memorandums.
by a
in Persian,
Fatih,
On
hand, on Tamerlane (1333-1405), on
later
and on Hafiz’s patron, Shah Shuja/
the
leaf) is
of Shiraz (d. 1384).
page (and obliterated on next to the
first
stamped
carmine ink the
in
seal of
last fly-
an owner, whose
name was Shafl‘. On the top of the last page is a Persian memorandum that the manuscript contains seventy-five This number is correct. (75) miniature paintings.’ The Diwan, or Collected Lyric Subject and Arrangement. Poems, of Hafiz, introduced by the Preface of Gulandam ‘
—
Rieu, Cat. Pers. Mss. Brit. Mus., p. 627-628), and ar-
(cf.
ranged as works,
follows:
and ninety-seven are
poems
Gulandam’s
(i)
—
i6-vii6.
fol.
in
I.
Ghazals, or
number,
fol.
Preface
to
Hafiz’s
Odes, five hundred
16—3166
;
among
these
in praise of several rulers or notables in the time
of Hafiz, for
example of Shah Mansur Muzaffar
(d. 1392),
own patron Shah Shuja/ (d. 1384), on fol. 186(1-1870 of Yahya ibn Muzaffar (1353-1430 a.d.), of Mansur ibn Muhammad ruler of Shiraz, fol. 1960-1976 of Shiraz, fol. 2100-2116; of Khwajah Turan Shah (d. 1385), who was vizir to the patron of Hafiz, fol. 2336-2346 fol.
1160-1166
;
of Hafiz’s ;
;
again of Shah Shuja/,
Yahya,
fol.
2706-2716; of
2496-2516;
Muhammad
ibn
of
Nusrat ad-Dln
and
of the same, fol.
‘All, fol.
2986-3000; again
2650-2660;
of Shiraz, fol.
of the above-mentioned Khwajah Turan Shah, fol. 30503056 and lastly of Khwajah Qiwam ad-Dln, fol. 345a and II. Three Masnawis, or Poems in Rimed Couplets, 3500. ;
—
beginning Ala ai
ahit-i, fol.
3166-3246.
—
III.
Mughanni-
namah, or Singer’s Book, beginning Biyd Saqi, 3316.
— IV.
ba-bad,
ning
fol.
Main
Tarji‘-band, or Refrains, beginning
3316-3346. chic
tit ,
Quintuple Rimes,
325a-
fol.
Ai dadah
— V. Qasidahs, or Panegyrics, begin3346-3370. — VI. Mukhammas, or or 337U-3386. — VII. Muqatta
fol.
l
fol.
at,
HAFIZ Miscellaneous Fragments, or Quatrains, one
131
3386-3510.
fol.
hundred and twelve
in nearly alphabetical order,
Illuminations and Illustrations.
a less ornate title-piece
;
number, arranged
in
3510-3656.
fol.
— The
Preface
Diwan
the
— VIII. Rubd‘iydt, is
itself
introduced by
opens with two
highly embellished full-page ‘unwans, gold and green pre-
Throughout the work there
dominating in the decoration.
are flowered bands and countless small floral panels marking
the end of each ode, quatrain, or series of verses.
The
seventy-five min iatures which illustrate the various subjects of the
work
poems
and are the marked Persian style.
are nearly full-page in size,
of a single artist in a strongly
The white-bearded man who appears throughout noted above,
illustrations, as
may
To be observed
a conception of Hafiz in his older years.
the frequent occurrence of the slender dark cypress
also
is
tree
and
of the rose
bush and the nightingale
The main
illustrative of the lyric verses.
illuminations i
(a)
fol. 16.
I (6-c) fol. ib-2a.
and paintings are as follows Simple illuminated
1
fol.
2
fol. 5a.
4 a.
3
fol. 86.
‘
Why
of
Darius
turn to
’
— so says Hafiz to
fol. 126.
his friend.
Mecca when our venerable sage ?
’
God’s providence saves after tribulations,
shown 5
the Preface to Hafiz
;
turns to the wine-house
4
—
title-page and introduction Odes in these two embellishments, gold and green combine as predominant colors. Ascent of Muhammad to heaven in a vision. ‘Look into the Cup of Jamshid and the Mirror of Alexander in order to have an insight into the
Kingdom 6 a.
title to
:
in pictures
details as to the
by Gulandam. Double illuminated to the Ghazals, or
fol.
in the
be assumed to represent
If
as
in the lives of the Patriarchs of old.
Hafiz has his friend he cares not, though he
be crucified like Man$ur. 6
fol. 136.
It is the
hour
of pleasure, the beloved friend joins
PERSIAN MANUSCRIPTS
132
in the wine-drinking,
and the musicians are play-
ing. 7
fol.
15 b.
Hafiz meets his sweetheart,
8
fol.
17 b.
Sultan
Mahmud
and
Majnun.
Laila and
who
his
on horseback.
is
favorite
(All four are
Ayaz
also
;
mentioned in the
Ode.)
sweetheart departs with her handmaidens.
9 10
fol.
20 a.
IJafi?’s
fol.
21a.
Hafi? grieving for his absent sweetheart.
11
fol. 246.
Hafi?’s loss of his beloved
Solomon’s 12
fol.
26 a.
a student of love,
Ilafiz,
13
fol.
27 b.
likened to the loss of
wine-shop but
still
no more to be blamed
is
who pawned
than the Shaikh of San'an in the
is
seal.
his cloak
praised God.
Hafiz likens the shadow of his cypress-like sweetheart to the reflection of the Divine Spirit.
14
fol.
29 b.
The happy
15
fol.
316.
IJafi? says:
passed 16
fol. 7,8b.
it is
;
‘Shlrin
is
night of union with the beloved.
‘The time of Majnun the lover has
now our
turn.’
the only subject of Farhad’s talk, and
abode of Majnun.’
Laila’s curl is the
(These four
lovers are portrayed in the picture.)
17
fol.
41a.
The beloved
18
fol.
45a.
‘
Do
of Hafiz kneels
by
his pillow at night.
not rely on the wind; even though
way you wish
blows the his throne
by the
— soaring
like
now
it
Solomon on
aid of the divs (demons)
—
it
may
later lead to destruction.’
19
fol.
47a.
Hafi?
apostrophizing
Jamshld. 20
fol.
53a.
Hafis’s
advice
attentive to
—
thee,
‘
Beware
may
deserted
the
!
the
throne
of
beloved, while
smile behind the veil
at
another.’ 21
fol.
22
fol.
57 b. 61 b.
Hafir’s sweetheart forsakes him.
‘Miss not your opportunity for joy: will
23
fol.
63 b.
open the door
for
you
if
you
lose
Hafi? fears that his excessive love
for
no one
your key.’
may make
others
jealous of him, as Joseph’s beautiful coat aroused the
24
fol.
655.
envy of his brethren. Love may be fatal. Farhad, the sculptor-lover of Shlrin, was beguiled to leap to death from the crag
—
HAFIZ
when
the old
133
woman
25
fol.
Hafi? and Fakhr ad-Dln ‘Abd a§-Samad.
67 a.
him
at the King’s behest told
the false story of Shirin’s death.
— ‘Trust
Fate, and fear not the deceits of the beloved.’
26
fol.
72 b.
27
fol.
76 b.
Hafiz prefers wine to fasting as a means for cleansing the heart from sorrow.
may
Fortune
come, just as Joseph, in spite of
his brethren, attained to the pinnacle of success.
28
fol.
79 5
29
fol.
855.
.
Why be blamed, when Jamshid and Kai Khusrau drank wine ? Why be downcast ? ‘The hoopoo, like the zephyr,
—
may
(The hoopoo bird was the
bring good tidings.’
messenger of love between Solomon and the Queen of
To be noted in the picture are the demons, as Solomon’s servants.) Sheba.
30
fol.
886.
—
My
divs, or
I would not touch beloved is for me alone. King Solomon’s seal if Abraham’s hand had touched it.’
‘
(Again to be noted in the miniature are the divs
as servants of Solomon, who is crowned with animbus.)
31
fol.
92 b.
Hafiz realizes his hope.
32
fol.
936.
Love’s
mischances.
Laila’s tent
33
fol.
97a.
—
‘
Lightning
and struck Majnun’s
from
flashed
threshing-floor.’
Hafi?, like Iskandar (Alexander the Great), employs
a mirror to find his beloved. 34
fol.
99a.
35 36
fol.
100a.
fol.
105a.
37
fol.
106 b.
you hold in your hand is air.’ burdened camel passing Majnun’s way. There may be risk in twos two high domes, two Turks, two sailors, two mystics in a wine-house, two highwaymen, two lion-hunters, two seafarers, and two mischief-makers after Hafiz’s heart. ’Tis said the burden of the song in Jamshid’s company was this: “Bring wine, for Jamshid will ‘All that
Laila’s
—
‘
not live for ever.” 38
fol.
ma.
39
fol.
1166.
’
Hafiz complains of his beloved’s inconstancy. Praise of
Shah Mansur Muzaffar
(d.
1392) for
his victory over thousands.
40
fol.
118a.
Hafiz likens his beloved to his contemporary, the beneficent Shaikh
Abu
‘under whose feet
the
Ishaq of Shiraz earth
(d.
1357),
became a garden,’
—
PERSIAN MANUSCRIPTS
134
and
Mahmud,
to
‘the flash of
whose eye burned up
his enemies.’
41
fol.
1220.
42
fol.
128b.
‘Few love stories Farhad and Shirln.’
Hah? proposes Solomon’s
43
fol.
132 a.
stir
drink
to
they are those of
us;
to
memory
the
of
vizir Asaf.
‘O Lord, put into the heart
Khusrau and
of
Shirln to be considerate of Farhad.’
44
fol.
1420.
‘Not every polished face can catch the heart; not every mirror-maker knew Alexander’s
45
fol.
1476.
46
fol.
149 b-
art.’
Hafiz gives to the east wind a message for kings
about the charms of
On
his beloved.
the transitoriness of love;
‘You may have the beautiful and seal
Abu Ishaq
of
(d.
1357),
is
it
passing.
brilliant turquoise
but his sway was
short.’
47
fol.
1596.
‘Set not your heart
upon the world;
intoxicated about the virtue of the
48
fol.
162a.
49
fol.
168a.
ask the
Cup and
also
about Jamshid, the pleasure-seeker.’ Despair not for Joseph, though lost, will return again to Canaan, and his prison-cell will become a ‘
;
garden of Sultan
roses.’
Mahmud
loved his favorite Ayaz simply
for his beauty.
50
fol.
173a.
(who Youth) you enjoyed eternal life at the Fountain must retire into concealment (as he did) from ‘If
you
aspire to
sit
as co-assessor of Khidr of
Alexander’s eye.’ 5i
fol.
179 a.
‘Throw Bahrain's
lasso
around Jamshld’s cup,
for in this Wilderness (of life) I see neither
nor his wild 52
fol.
183a.
53
fol.
186 b.
Bahram
ass.’
‘The turbaned Censor breaks the jar Shah Shuja (1357-1384), the patron 1
of wine.’ of Ilafi?.
54
fol.
196 a.
55
fol.
199 b.
Yahya ibn Mu^affar (1353-1430), ruler of Shiraz. Hafi? in praise of Asaf, the vizir of Solomon.
Qubad and Jamshid.
56
fol.
207 b.
Hafiz praises Kai
57
fol.
210 b.
Man§ur
58
fol.
224 a.
Hafiz praises the patience of Joseph.
59
fol.
229 b.
IJafi?
ibn
Muhammad
mentions
Mahmud
of Shiraz.
and
his favorite
Ayaz.
HAFIZ 60
fol.
135
Khwajah Turan Shah
2336-
(d.
1385), subject of IJafi?’s
panegyric.
61
fol.
Pashang’s son, Afrasiab, a Turanian hero in the
2426.
Shab-namah. 62 fob 245a.
Farhad’s death mentioned by Hafiz.
63 fob 250 a.
Shah Shuja‘
64 fob 260 b.
‘Give
me
(d. 1384).
of Qarun.’
Cup and not the treasure (Qarun of the Qur’an, answering to
Qorah
Old Testament, represented the
of the
Jamshld’s
classic
idea of Croesus and his wealth.)
66 fob 2656.
Joseph mentioned with praise. Nu$rat ad-Din Yahya, ruler of Shiraz.
67 fob 270 b.
Nu$rat ad-Din Shah Yahya, above mentioned.
65 fob 26 3b.
‘To be king you must have the genius of Jamshid of Farldun to be a lover like Majnun you must
68 fob 27 2b.
and
;
follow the dangerous path of Laila.’
‘Many would be
69 fob 277 b. if
70 fob 7i
Cl
The
00
like
Majnun
of the Tribe of
bountiful
Hatim
Tai.
‘Whoever exchanged the treasure
fob 294a.
Amir,
a Laila would come out of the Tribe of Hai.’
of
economy
for
the treasure of the world, sold Joseph of Egypt
cheap
Muhammad
72 fob 29 8b. 73 fob 3 ° 5 &74 fob 306 b.
’ !
ibn
‘All.
Turan Shah, mentioned above. ‘Through this palace have passed a hundred thousand like Ka’us, Caesar, Jamshid, and (other) kings.’
75 fob 3116. so
‘As
Majnun
my
heart should follow
followed the heart-ravishing Laila, its
sweetheart.’
VII
jam!
%
JAMI (1414-1492 A.D.) Jam!, the last classic poet of Persia, romantic, and mystic compositions. birthplace, the small
Afghanistan ‘cup,’
;
town
of
renowned
for his historic,
name from his what is now called
took his
Jam, near Herat,
yet he himself plays upon his
jam, from which, with the mystic
love of God.
is
He
in
name as emblematic of
Sufis,
the
he quaffed the divine
See above, under Rumi, p. 93.
Jaml’s seven longer poems are often collected together under the title
Haft Aurang, or ‘Seven Thrones,’ after the name of the constellaA list of these poems is given below, in con-
tion of the Great Bear.
nection with the manuscripts. One among the number, and the best known, the Yusuf u Zulaikha, written in 1483 a.d., was probably inspired in title and subject by Firdausi’s poem on the love of Potiphar’s wife for Joseph two others, namely the Laila u Majniin and the Khirad-ndmah-i Iskandari go back to Nizami’s romantic poems by the same name, telling of Majnun’s tragic love and of Alexander’s fame for wisdom. Jaml’s short lyric poems, which were composed approximately between 1460 and 1491, are later grouped in ;
the manuscripts into three diwans.
‘Abode of
His prose work, Baharistdn, or
Spring,’ containing short stories with apt illustrations of
Eastern thought and wisdom, was composed about 1487. Jami traveled considerably during a part of his lifetime, making
Mecca, and visiting Aleppo, Damascus, and where he was received with the honor due to his literary attainments and with the recognition appropriate to his renown for mystic devotion. He died at Herat in 1492. the
pilgrimage
to
other well-known
cities,
For details and references consult, among other books, Ethe,
N eupersische
S. Robinson, Persian Poetry, p. 510305-307 642, London, 1883; F. H. Davis, The Persian Mystics: II, Jami, London, 1908; Jackson, art. ‘Jam!,’ in C. D. Warner, World's Best Literature, 14.
Litteratur, in Grundriss, 2.
81 10-81 16,
New
;
York, 1897. i39
PERSIAN MANUSCRIPTS
140
17 Diwan, an early collection of the
Jami:
poems
lyric
and mystic
This very valuable manuscript was writ-
of Jam!.
ten in the poet’s
own
lifetime, as it
can be assigned to the
third quarter of the fifteenth century (see below),
represents a compilation
he grouped
The copy
made
all of his lyric
is
and
prior to the time at
compositions into three dlwans.
handwriting of the celebrated
in the
raphist ‘Abd al-Karim of
it
which
Khwarazm, whose brother
callig-
tran-
scribed, in 1463 a.d., another precious manuscript of Jami’s
Diwan, which is
now
is
most
in the British
closely allied to this copy,
Museum
(see below).
richly illuminated, the present manuscript
sixteen beautiful miniatures, which fluence of Size.
Mongol
— 10 X 6 (16.2
Binding.
X
8.0 cm.).
is
adorned by
show strongly the
in-
art.
X
in. (25.5
— Maroon
and which
Besides being
15.2 cm.)
Folios 328
;
;
written space, 6f
the last page
is
X
3I
in.
blank.
Oriental leather, apparently camel’s hide,
deeply pressed with a medallion figure, pendants, and a panel border, gilded and with a tendril inside covers
show a
lighter
pattern in
brown
relief.
The
leather, blind-pressed,
and with elongated gold medallion, pendants, and corner and embellished by filigree work upon a blue The whole of the field is framed by a double The covers are the original ones, but have
angles, cut out
background. gilt cording.
been slightly repaired. Writing and Paper. lines to a
The
page in two
in
off
a very beautiful Nasta'llq, 15
columns, lightly outlined
couplets in which Jami’s
blocked of a
— Written
name
occurs in
between horizontal ruled
heavy quality and
of a
lines.
by gold ruling. the poems are
The paper
is
creamish hue with a slight sheen.
JAMI
Date and Scribe.
— The date
141
of the
manuscript
can be determined, from the time
not given, but
is
of the scribe
and from
and external evidence, as being between 1463 and 1479 A D -» th e former date being probably nearer the actual
internal -
The determining
one.
lowing
The
:
factors as to the date are the fol-
—
name in the colophon, on fob 3280, Khwarazm. This copyist, as we know
scribe gives his
as ‘Abd al-Karim of
through other sources, was one of the two noted sons
famous
flourished in Jaml’s of Sultan
The
‘Abd ar-Rahman
calligraphist
own
lifetime
of
of the
Khwarazm, who
and enjoyed the patronage
Ya'qub, ruler of the White Sheep Turkomans.
father and his
two sons are accredited with having trans-
formed, between the years 1456 and 1476, the style of Nasta‘-
Huart, Les Calligraphes
llq writing (see
et les
miniaturistes ,
As already stated, the other son was named ‘Abd ar-Ralilm, and he was the copyist who transcribed, in the year 1463 a.d., the similar early Diwan of Jam!, which p. 257-258).
is
now
Museum
in the British
The two
188, no. 288).
copies
The
preface, but the
Museum
British
copy
,
p.
these celebrated brothers
are closely related, although there are
tween them.
Supplement
(see Rieu,
by
some
differences be-
manuscript has no
in the present collection has a preface
(fob 1&-5&), the close of
which corresponds to what forms an
epilogue at the end of the
Museum
copy, fob 168 (see Rieu,
Supplement, p. 189, for details regarding the latter).
In a
personal quatrain in the present preface (fob 5 b), moreover,
JamI speaks 1463 a.d.
;
of himself as being then in his fiftieth year,
exactly the
168) of the British
as 1463.
same date is found
Museum
i.e.
in the epilogue (fob
copy, the date of which
is
given
This year (1463) therefore forms the lower limit
in determining the date of limit is furnished either
The upper when the trans-
the manuscript.
by the year
1476,
;
PERSIAN MANUSCRIPTS
142
formation in the style of writing instituted by the father
and or
two sons was regarded as complete, as noted above
his
when Jami began
given by 1479, the time
it is
to revise or
rearrange his poems into a form that ultimately became fixed as
Three Diwdns
p. 306).
The present
Ethe, Neupersische Litter atur,
(cf.
Museum
copy, like the British
copy,
antedates that event, and they resemble each other in agreeing largely in contents with
Diwdn.
It is
and Rahim were engaged scripts almost at the
Memorandums. hand, ‘
is
is
To
hand, there
name title
making
in
their respective tran-
title
of the binding, in a later Persian
with a note on the calligraphy, as
of Jami, in beautiful handwriting.’
On the first
which has been pasted together with the
a similar note,
hand.
later called the First
same time.
— On the back
given the
The Diwdn
fly-leaf,
what was
not impossible that the two brothers Karim
‘
The Diwdn
the right of this is
Silsilat
of Jami,’ jotted
memorandum,
first folio,
by the same
in a different
a note erroneously calling the work by the
adh-Dhahab,
generally given to the
‘
Chain
first
of Gold,’ as that is the
book
There are two small oval
seals
been obliterated and are
illegible.
on
Haft Aurang.
of Jami’s
this page,
On
but they have
the last fly-leaf
is
a pencil note in English regarding the author and possible date, as follows: to the
number
‘
Jami, Diwan, 1480-1500/ and a note as
of miniatures.
Subject and Arrangement.
— An
early Diwan, or collection of
Jami’s lyric and mystic poems,
made
prior to the time
when
As already remarked, this copy agrees largely in contents with what was later called the First Diwdn (cf. Sachau and Ethe, Cat. they were grouped as three separate diwans.
Pers. Mss. Bodl. Lib., col. 612-614;
Arab. Pers. Mss., p.
2.
40-42
;
187-189, nos. 287, 288).
also
Muqtadir, Cat.
and especially Rieu, Supplement,
6 ;;
,
.
;
JAMI
The arrangement, which
is
the British
Museum copy
lows
A short personal
I. (a)
:
5
yjjfy*
4
143
almost identical with that of
(Rieu, Sup., no. 288), runs as fol-
Preface beginning in prose with
same
(the
as in Rieu, p. 187, no. 287),
then adding some verses in Masnawl form eulogizing the reigning sultan, lines of prose,
the
year of his age
group
furthermore continued by five
Sa'id,
which Jam! states that he was then
first of
(lunar)
A
Abu
and concluded by two quatrains
Muhammad, and by
Tarkib-bands and Qasidahs
(fol.
group corresponds to what
is
part
56-3 ga)
—
396-2915). —
order
poems with a
refrain (fol. 2916-3000)
(fol.
288. — IV.
)
a succession of
whole
this
latter
Ghazals, or odes, in
II.
alphabetical
Supplement, no.
;
(
five
generally called the second
the First Diwan.
of
(b)
—
God, followed by
of five Qasidahs in praise of
Tarji‘at in praise of
in the fiftieth
A.D., see above).
1463
( i.e
(fol. 5 6), in
Two
;
Tarflat,
III.
or
the same as in Rieu,
Marsiyyahs
Tarkib-
in
£
band form, one being an elegy on Maulana Sa d ad-Din Kashghar brother
poems
of
;
3006-3046).
— VIII.
the
first of
Shah Babar
Muqatta‘at,
these 1
Diwan
(fol.
or enigmas, longer
3200)
is
a riddle on the
^
W*
described
by Rieu, Sup.,
the second enigma, also in four lines, on
followed
by a
^
beginning
Hasan
then seven other enigmas, each in two lines series of single-line
(
own
fragmentary
Ruba‘iyat, or quatrains
Mu‘ammayat,
(d. 1457),
other copy of the
— V.
— VI.
3046-3096).
(fol.
3096-3200). shorter
1455 a.d.), the other an elegy on Jami’s
(d.
(fol.
of
(fol.
and
name
as in anno. 288
(fol.
3206)
(fol.
3216),
fard ) riddles, the
name
This Babar is the one called Babar Sultan he was the great-grandson Timur Lang, and after the death of ‘Abd al-Latif he established himself ruler of Khurasan in 1452, and died at Mashhad, on March 27, 1457 1
;
of
as cf.
Beale, Oriental Biog. Did., p. 92.
later
He
is
to be distinguished
Babar who founded the Mughal Dynasty.
from the
:
PERSIAN MANUSCRIPTS
144
above each
of the person being given
minated brooch
(fol.
Illuminations and Illustrations. in blue
and
— Two richly ornate
form the opening
gold,
a beautiful
in
illu-
3216-328 a). pages,
full
of the Preface;
and
there are throughout the manuscript, especially towards
the end, highly decorated head-bands and caption-brooches.
The
miniatures, sixteen in
are fine
the
specimens of
Mongol
brush. before
style;
The
first
art,
all,
of the chase
them
of
full-page,
they appear to be the work of a single
two miniatures, occupying a double page
two illuminated
the
many
strongly under the influence of
frontispieces,
portray scenes
the other paintings, likewise often full-page,
;
represent the subject of some particular verse or theme in the
poem which they
as follows
I
II
:
—
are chosen to illustrate.
1 fol. 16.
Hunting-scene.
2 fol. 2 a.
Another scene from the chase.
( a-b )
fol.
26-30.
3
fol.
210.
( c ) fol.
396.
fol.
866.
4
Details are
Exquisite double title-pages in blue and gold.
'The young man who wishes to gain knowledge must dip deep like the diver to bring up the pearl.’ Illuminated title-piece to the book of Ghazals. Convivial scene in spring, with a king sitting
upon 5
fol.
990.
6
fol.
1130.
7 fol.
1320.
his throne in an orchard. bard playing on his guitar, for a prince and company out of doors.
A his
A ‘
feast of love.
The student
of thy love sets not his feet
on the
steps of the pulpit of the mosque.’
8
fol.
1386.
The shepherd
takes
Majnun
to the
tent of
Laila, his beloved.
9
fol.
1620.
Illustration of a verse referring to
devotedly following
Laila.
The
Majnun
as
verse reads
‘When the camel-driver carries Laila away from Hai, who can restrain Majnun from following her?
’
10
fol.
1810.
Illustration
of
Shlrln
and her
sculptor-lover,
JAMI
The
Farhad. 11
fol.
Spring scene
202 a.
up the cup and 12
fol.
torn 13
fol.
away
the
—
‘
In the springtime,
social intercourse ?
shat-
is
—
‘
My
why
give
’
love for thee has
veil.’
— the lover chases Hunting-scene — The beloved
Polo scene
228a.
breast
of thy love.’
Scene of love-making
2186.
‘My
verse reads:
by the axe
tered
145
his beloved like
a polo ball. 14
fol.
232a.
lover has come out
fears
that her
to hunt her heart as in the
chase.
15
fol.
‘
2636.
Seek thou for Jamshid’s
and 16
Cup in
the wine-glass,
for the water, of life in the grape lees.’
Jam! would rather be the captive-game
fol. 284ft.
of his
beloved than be a student.
18 Jami
:
Yusuf and Zulaikha.
— A beautiful early sixteenth-cen-
tury manuscript of Jaml’s romantic and mystic poem,
Yusuf and Zulaikha.
It is copied in the exquisite
hand-
Mir
dated
writing of the famous calligraphist I 5 2 3 _I S 2 4
The
a.d.
‘Ali,
and
illuminations, especially the
is
sumptu-
and
ous decoration of the margins, are particularly fine;
the three miniatures are in the style of the contemporary
Bahzad school
its
general style and char-
acter, it is to be closely associated
with the great manu-
Nizami (No.
script of
was Size.
of painting.
In
3) in the present collection,
and
it
finished one year earlier than that codex.
— iof X (14.3
X
7 in. (27.5
6.7 cm.)
;
X
17.7 cm.); written surface, 5!
the space covered
in comparison with the
by the writing
wide margins.
X 2§ in. is
small
Folios 139, the
first
PERSIAN MANUSCRIPTS
146
and
A
pages being blank, but especially embellished.
last
number
of leaves are
misbound, and some twelve in
all
are missing.
Binding.
— Rebound
in a
heavy black Oriental
blind-pressed designs in red, dark green, and
outside covers are alike, and
grained leather, set
by an
off
pendants, and corner angles,
The
a foliated pattern.
leather, with
Both the
gilt.
show an inner
field of
black
inlaid red leather medallion, all
these being stamped with
smaller panels around this field
are of a dark green leather, with a similar pressed design,
and a
little
gold and colored vignette at the top and the
bottom heightens the
effect.
A
running flowered border
frame the whole.
of gold serves to
The
inner covers are
overlaid with a cloth of rich red color, with a floral pattern,
but
of ordinary quality.
Writing and Paper.
by one
of the
(see below).
— Written
in
an exquisite Nastafliq hand
most famous Persian
The
Mir
calligraphists,
‘All
two columns,
text runs 14 lines to a page in
separated by a double ruling and framed by a broad band of different colors,
page
with
The whole
floral traceries in gold.
then inset in a richly embellished wide margin,
is
each border being painted in a different color from the next (thus giving the greatest variety) and being covered with
gold flowered designs.
The paper
of the inset
a heavy quality, but that of the borders
is of
a
pages still
is
of
heavier
weight.
Date and Scribe.
by Mir
page
in the
‘All al-Husainl,
=
930 a.h. scribe
— Given
is
1523-1524
colophon (fob 1370)
(fol.
1 a).
Mir
‘
Written
year nine hundred and thirty a.d.].’
The 'name
recorded also in a later
of his day,
as,
‘All
and some idea
of
this
memorandum on
[i.e.
famous the
first
penman
was the most celebrated of the value of his work may be
gained from the statement of a European authority, R.
JAMI
147
Murdock Smith, who mentions Mir
the writing of
the fact of
a single line of
‘
two or three pounds
selling for
sterling
’
of
Major R. M. Smith, Persian Art p. 79, in Handbooks Mir ‘All was indirectly, the South Kensington Museum).
if
not directly, the pupil of the renowned calligraphist
(see
,
He was born at Herat, but educated at Mashhad, and was later (1539) brought, much against his will, from Mashhadi.
Herat to the court
of the
Uzbeg
ruler at
he was forced to employ his art
He was
somewhat
also
he laments his
of a poet,
penmanship.
of beautiful
and some
have been preserved.
lot,
Bukhara, where
which
verses, in
He
died in 1558
or 1559 a.d., or, according to another account, in 1544 a.d. (see
Huart, Les Calligraphes,
and Ethe,
Cat. Pers.
Memorandums. first
page
of this
the
of
— The
only
is
work
name
1906 a.d. a
by
Above
modern
a small oval
is
of the owner,
this seal is jotted, in
Mir
‘All,
and was
seal containing
this date
A. H.
‘
was written
by Fadl
[= 1908
a.d.].’
and the one preceding
course, in such a case a matter of
=
a small neat hand,
later acquired
Allah, of Rai, in the year 1326 a.h.
between
In the
Fadl Allah, and the date 1324
stating that the manuscript
the renowned
difference
title
At the top and author
Yusuf and Zulaikhd by Jam!.’
‘
memorandum
Sachau
cf.
are found on the
to a later date.
a note in Persian giving the
as
middle of the page the
227-228, and
Lib., nos. 816, 859, 863).
memorandums
and belong
(fol. 1 a)
page
p.
Mss. Bodl.
no importance.)
(The is,
of
Rai
is
located about six miles southeast of Teheran. Subject.
— As
already stated, the subject
is
the mystic and ro-
mantic poem of Yusuf and Zulaikhd or Joseph and Potiphar’s ,
wife, written
by JamI
Husain Mlrza,
ruler of
Illuminations and
above (under
in 1483 a.d.,
Illustrations. ‘
Writing
and dedicated
to Sultan
Khurasan, who resided at Herat.
’)
— Attention
to the
has been called
sumptuously illuminated
PERSIAN MANUSCRIPTS
148
margins and borders, and to the variety and alternation in
There are two splendid ‘unwans to
the colors employed.
serve as a double frontispiece
and the head-bands, which
;
form the captions to the different
by a
rubric letters, set off
manuscript
is
illustrated
which belong in
No
is
The
tendril design in gold.
by
style to the
name
artist’s
sections, are inscribed in
three
full-page
miniatures,
contemporary Bahzad school.
given, but they are seemingly the
work
of a single painter, the last miniature (fol. 91a) being the finest of the three.
I
(
a-b )
Two
ib-2a.
fol.
The
subjects are as follows
:
—
full-page introductory pieces, highly
em-
bellished.
Joseph arriving in Egypt and leaving the ship
1
fob 586.
2
fob 69 a.
Joseph tending the
fob 91a.
Zulaikha seizing the skirt of Joseph’s robe.
in the Nile.
3
flocks.
19 Jam!
:
Yusuf and Zulaikha, or the Story
A
Wife.
fine Persian
of
Joseph and Potiphar’s
manuscript, not dated, but belonging
to a period not later than the middle of the sixteenth cen-
tury (see below), handsomely illuminated and containing four full-page miniature paintings after the best
the
Bahzad
of the Size.
Kings
— 10 X 5! 3 in. (16.8
blank
;
school. of in.
X
Among
Golkonda (25.3
X
7.5 cm.).
one leaf
is
in
its
manner
of
various owners were two
Southern India.
14.6 cm.)
Folios
;
written surface, 6f
162,
X
the last page being
missing after fob 53, and one after fob 78.
Embellished Introductory Page (Tnwan) Ms. No.
18, fol. 2 a (see
page 148)
JAMI Binding.
— Rebound
149
dark-red Oriental leather, with
in plain
Some
blue sheets tipped in opposite the illustrations.
of the
pages have been slightly repaired. Writing and Paper. rather large size,
— Written 1 2 lines
a beautiful Nasta'liq of a
in
page in two gold-ruled columns,
to a
with orange, blue, and green outlines on tan-colored paper, gold-sprinkled, the pages being inset.
Date and Scribe.
may
— The
date
is
not given, but the manuscript
properly be assigned to the middle of the sixteenth
century, or approximately to the year 1550 a.d., as
judged not only from
from the time
its
This scribe gives his
of the copyist.
the colophon as
same person as
may
be
general characteristics, but also
Muhammad Qiwam of the Muhammad Qiwam
Shiraz,
name
and
of Shiraz
is
in
the
who,
in
August, 1556, finished copying a Kulliyyat of Jam! upon
which he had worked
for four years
he completed also in
;
1556 a beautiful transcript of Jaml’s Yusuf and Zulaikhd;
he
is
known
also to
have been the copyist of a manuscript
Haft Aurang
of Jaml’s
(see
Sachau and Ethe, Catalogue of
Persian Manuscripts in the Bodleian Library, 898, 905)
;
Memorandums.
— The copy contains a number of
with some memorandums. (fol.
1 a)
nos.
895,
see also next paragraph.
On
seals together
the back of the title-page
are half a dozen signets, the oldest of which
is
apparently the small oval seal near the bottom and at the
on the
top, again repeated
one Rida,
last folio
;
it
is
the signet of
who terms himself the humble servant of the Muhammad.’ Near it is a Persian memoran‘
descendants of
dum
which records
:
Dervish Beg on the 7th
‘
This (book) was brought by the of the blessed
month
of
Ramadan
in
the year Alf (1000) from Dar-mahal [District Library?].’
The reckoning by Akbar the
of the year Alf,
Great, and
‘
Millennium,’ was introduced
was counted, not from the
flight
PERSIAN MANUSCRIPTS
150
Muhammad in
(Hijra) of
occurred in 632 a.d.
correspond to Sept.
middle of the same page ‘
622 a.d., but from his death, which
The date of the memorandum would The small oblong seal in the 25, 1582. the signet, with date, of
(fol. id) is
Zain al-‘Abidln, year 1190 A.H. [= 1776
round
a large Sultan
seal
Muhammad,
Shah dynasty
of
with a
but partly clipped
=
The
in
the
itis
name
of
Southern India, together with
A
1795 a.d.
off, is
can be read as that of
Hamzah.’
Above
a.d.].’
bearing
one of the rulers of the later Qutb
Golkonda
the date 1210 A. H.
crest,
the ‘
same
Mahdi
small seal near the edge,
on the
as one
last folio
three other oblong seals on
fol.
and
Shah
Quli, the servant of
1a
are
On the first fly-leaf is the large seal of Muhamwho was another of the Qutb Shahs of Golkonda.
obliterated.
mad
A
Quli,
small square seal near the top
it is
of
Mir Kazim, on the
year 1122 a.h. [= Oct. 29, 1710 last folio
but below
obliterated,
written in Persian in a bold hand
edgment
Subject
is
:
With the acknowl-
*
Ramadan, in the The two seals on the
sixth of
a.d.].’
have already been described.
and Contents.
— Jami’s poem on the story
of the love of
Potiphar’s wife for Joseph, comprising approximately 3544
rimed couplets. Illuminations and Illustrations.
by two
— The manuscript
is
introduced
beautiful ‘unwans, that form a double title-page,
and contain,
in medallions, the
Yusuf and Zulaikha.
In
opening couplets of the book
addition to
these
there
are
throughout the poem, as captions to the different sections, large gold bands, lettered in white
and
delicately flowered.
There are four highly finished miniature paintings,
most
delicate
workmanship, the portrait
of
Joseph being
recognizable in each case by a painted golden nimbus. furnish fine examples of
The
the art of
of the
They
the Safavid period.
subjects of the illustrations are as follows
:
—
;
JAMI I
(
a-b )
fol.
ib-2a.
1
fol.
38a.
2
fol.
73a.
ISI
Illuminated double introductory pages.
Zulaikha with her handmaidens in the palace, after she has
dreamed
Yusuf, offered for
Yusuf the second time.
of
purchased by Zulaikha
sale, is
for double the price bid.
3
fol.
Yusuf summoned by Zulaikha to serve at feast. The Egyptian ladies who are present are so overcome by his beauty that they cut their fin-
102 b.
4
pomegranates they
the
gers instead of cutting
are peeling.
•
fol.
Yusuf and Zulaikha united
139 b.
in
wedlock after
Potiphar’s death.
20 Jam!
:
Haft Aurang, or
Seven Thrones,’ named
An
Great Bear.
constellation of the script of
‘
about the middle
taining Jami’s seven longer
the
after
illuminated
manu-
of the eighteenth century, con-
poems complete, and
illustrated
by seventeen miniatures. Size.
— ii| X 7J
in.
(29.7
X
18.5 cm.)
;
written surface, 7!
X4I
(20.0X 11. 8 cm.) folios 257, numbered in Persian figures. Between each of the seven poems the scribe has left blank
in.
a page,
;
or, in
some
cases,
two pages.
Binding. — Strong modern Persian binding
of
dark brown
the covers are blind-pressed and slightly gilded ing of the head-band
Writing and Paper.
is
in Shiraz! style.
— Fair and clear Nasta'liq, 21
in four columns, separated
gold and blue lines.
;
calf
the stitch-
by gold
The paper
creamish in hue, and without sheen.
rulings is
of
lines to a page,
and framed
in
ordinary weight,
Small
gilt
paper tabs
;
PERSIAN MANUSCRIPTS
152
are added on the margin of the pages that have miniatures
and illuminations. Date and Scribe. not add his
— The name
;
date
not given and the scribe does
is
but the date must be about the middle
of the eighteenth century a.d.,
Persian
memorandum on
the
first
containing the year 1178 a.h.
Memorandums. page
(fol.
=
we may judge from a
if
page and on the
— On the outer margin near the top ia) is
a
memorandum
over his (later effaced)
in Persian
as follows
seal,
last
page
1764 a.d. (see below).
:
‘
of the first
by the owner,
My courteous and
Aqa Muhammad Rabi‘ Sahib (may the peace God be upon him!) granted (this book) to me in the month .’ The year is erased, but was Jumada al-Awwal
sincere friend of
of
.
probably 1178 a.h.
underneath
‘450’
( i.e .
=
this seal,
.
.
1764
a.d., as below.
In another hand
and again near the top
450 tumans, as value).
of the page, is
Practically the
same
memorandum
over the same seal (likewise effaced), but in
another hand,
is
2576), of
namely
:
God be upon
found near the bottom of the
last
page
(fol.
‘Aqa Muhammad Rabi‘ Sahib (may the peace
me
him!) presented (this book) to
ing and gift in the
month
of
as an offer-
Jumada al-Awwal, year 1178
[= October, 1764 a.d.],’ and the number 450 is added by the tertia manus that placed those figures twice on the
a.h.
The
opening page to denote the value.
with that at the opening, but, as stated, a seal
nearby has also been obliterated.
dum
at the top of
fol. 1 a
left-hand corner of this
octagonal
seal,
On
fol.
has been erased
A Persian memoranis
‘
the seven
In the decoration on the upper
first
referring correctly to the
the manuscript.
it
seal is identical
notes that the book
(poems) of JamI complete.’
is
’
‘
page
is
number
66a,
which
the
number ‘257
folios,’
of leaves contained in is
blank, there
is
a large
apparently of a person of high rank, but
it
defaced and can be only partially deciphered as the
—
JAMI signet of
On
153
‘Muhammad Farrukh Mir
.
.
Zain al-‘Abidin.
.
.
.
a fly-leaf tipped in near the beginning of the book
memorandum
a Persian
giving the
names
of the seven
is
books
Jam! contained in the manuscript. All the other memorandums on the fly-leaves are in English, fly-leaf 4 giving of
a table of contents and a leaf 7 giving a similar
list of
the illustrations, and fly-
enumeration of the seven poems con-
tained in the copy, together with a
Persian jotting translated above.
memorandum as to the The same English hand
has noted on the margins opposite the miniatures the subjects they illustrate. Subject and Arrangement. of
arranged
Jam!,
—
16-500.
fol.
— The Haft Aurang, or Seven Thrones, as
follows
Salaman
II.
I.
:
u
Silsilat
Absal,
fol.
adh-Dhahab, 516-656.
Tuhfat al-Ahrar, fob 666-886. — IV. Subhat al-Abrar, fob 896-1266. — V. Yusuf u Zulaikha, fob 1276-1776. — VI. Laila u Majnun, fob 1786-2263. — VII. Khirad-
III.
namah-i Iskandari, fob 2276-2576. Illuminations and Illustrations.
‘unwans as also
— There
title-pieces to the
are seven illuminated
seven books, and there
is
an ornate medallion page in colors as an opening to
The captions poems are written
the work (fob ia).
to the various sections
in the different
alternately in gold
and
page (fob 43a) which contains a
ref-
in red.
One
special
erence to Majntin’s freeing a deer from a hunter of his love for Laila is extra-illuminated
lineations this
by
and an ornate
floral border.
because
with gold inter-
The miniatures
in
manuscript are seventeen in number and appear to be
three or four different artists in the general style of the
period; that on fob 171a seems to show traces of Indian influence, I
which
(a)
fob
(6)
fob 16.
1 a.
is
not the case with the others.
Ornamental medallion page. Illuminated title-piece to the Silsilat adh-Dhahab.
PERSIAN MANUSCRIPTS
154 1
fol.
Zahid knocks at the door of his sweetheart as
29 a.
she 2
fol.
is
entertaining ‘Arif.
The wicked man and
37 a.
the
woman with
the two
skins filled with melted butter. II
(c)
3
Illuminated title-piece to Salaman and Absal. Salaman and Absal playing polo.
fol. 516. fol.
58a.
III
(d)
fol.
66 b.
Illuminated title-piece to Tuhfat al-Ahrar.
IV
( e)
fol.
89 b.
Illuminated title-piece to Subhat al-Abrdr.
V
(/)
fol.
1276.
Illuminated title-piece to Yusuf and Zulaikha.
4
fol.
137a.
Zulaikha dreams of Joseph and afterwards
tells
her attendants the story of her love. 5
fol.
In order to tempt Joseph, Zulaikha enthrones
1536.
him
in a beautiful
garden and surrounds him with
fair damsels.
6
fol.
The Egyptian
161a.
ladies,
overcome by Joseph’s
beauty, cut their fingers instead of the pomegranates which they are peeling.
VI
Joseph marries Zulaikha after Potiphar’s death. Illuminated title-piece to Laild and Majnun.
7
fol.
171a.
(g)
fol.
178 b.
8
fol.
197 b.
King Naufal while out hunting sees the loveMajnun and takes pity upon him. The Caliph sends for Majnun, who comes into
distracted
9
fol.
2046.
10
fol.
209 b.
his presence.
Majnun becomes a hermit
the wilderness
in
after hearing of Laila’s marriage.
VII
11
fol.
2176.
Laila pays a visit to
12
fol.
224a.
Laila’s coffin
(h)
fol.
227 b.
Illuminated Iskandari, or
13
fol.
2436.
is
Majnun
in the desert.
carried to burial.
title-piece
Book
Khirad-namah-i
to
of Alexander.
Iskandar, or Alexander
the
Great,
and
his
Court.
Alexander and the foolish sage.
14
fol.
2416.
15
fol.
243a.
Alexander destroying an idol-temple.
16
fol.
2486.
The sage
alone
wrecked, as he 17
fol.
2536.
Death
lets
is
saved when the boat
everything go.
of Alexander.
is
TURKISH MANUSCRIPTS
Ornate Lacquer Binding Ms. No.
21, outside of cover (see
page
1(50)
VIII
MIR
‘ALI
SHIR NAWA’I
MIR
‘ALI
SHIR NAWA’I
(1441-1501 A.D.)
Mir
'All Shir
man
Nawa’i, or Nawa’i for short, a distinguished poet and
was born at Herat, February 9, 1441 (17 Mashhad and at Samarqand, and then returned to his native city, where honored preferment awaited him at the court of the ruling sultan, Husain ibn Baiqara, to whom he became grand vizir. Among the high offices of trust which he discharged was that of Secretary of Finance, and, for a year, the Governorship His own preference, however, was for of Jurjan, on the Caspian Sea. private life, into which he finally withdrew, employing his large wealth in the patronage of letters and in charity, as well as devoting himself to writing poetry, an occupation that appears to have been eminent
of affairs,
Ramadan, 844
a.h.), studied at
ever nearest to his heart.
Nawa’i’s poetical works in Jaghata’I, or Eastern Turkish, entitle
him
to the foremost rank
among Turkish
writers, although
he was an
The first collection of his have been made by his admiring who died in 1484 a.d. (889 a.h.),
equal master of verse in Persian as well.
youthful compositions appears to friend Prince
and
his
prose.
Muhammad
works in His
lyric
all
Sultan,
comprise nine volumes of verse and twelve of
poems show strongly the influence of Hafi?.
Nawa’i’s
death occurred in his sixtieth year at Herat, 12 Jumada a.h.
=
II,
906
Jan. 3, 1501 a.d.
Consult Rieu, Catalogue of the Turkish Manuscripts in the British Museum, London, 1888 Rieu, Cat. Pers. Mss. Bril. Mus., 1. 366 and especially
p. 273,
;
;
Gibbs, History of Ottoman Poetry,
1.
127-129, et passim;
compare
also
Berezin, Beschreibung der tiirkisch-tatarischen Handschriften in den Petersburger Bibliotheken, in Zt. d. deutsch. Morgenldndischen GeseUschaft,
Leipzig, 1848
cinquieme
;
Belin, Notice sur
serie, 17 (1861), p.
Mir A li- Ch ir-Neroaii,
175-256, 281-357.
in
2.
248-256,
Journal Asiatique,
TURKISH MANUSCRIPTS
i6o
21 Mir
'All
A Dlwan.
Shir Nawa’i :
dated 1499-1500
'
This very valuable manuscript,
a.d., contains
a collection of lyric poems
by Nawa’i, and was copied
in Jaghata’I, or Eastern Turkish,
during the author’s death,
own
lifetime, a year or
two before
his
by the famous calligraphist ‘All Mashhadi, his special The manuscript is richly illuminated and has
protege.
fifteen miniatures besides the
two lacquer paintings on the
inside of the covers. Size.
— 9! X 6 X
(19.2
blank
a
;
X
in. (24
folio is
— Ornate
cm.)
;
written surface,
7t
and the
X
and
4 in.
last leaf
missing after each of the following
108, 148, 183, 226,
Binding.
15. 1
Folios 254, the first
10.4 cm.).
fol.
:
250.
lacquer binding with lacquer paintings on
the inside of the covers, the manuscript having probably
been rebound about the end pf the sixteenth century.
The
both of the outer covers
field of
is
identical
and has
a foliated design, chiefly of a golden yellow color, with
a sort of cruciform medallion set
and
off
by pendants
gold, the entire panel being then
border of black, red, flower pattern.
of black
framed by a
triple
and black, ornamented by a running
The inside
of the front cover (a) has a lac-
quer painting -presenting a scene at the court of a ruler before
whom
back cover
bound
(b)
The
learning.
worthy
an old
of
a petition
gives in lacquer a scene at an details in
observation.
trimmed and then
‘All
;
the inner
academy
of
both of these pictures are well
When
the manuscript was re-
(as already noted), the edges of the folios
Writing and Paper.
famous
woman makes
were slightly
gilded.
— Exquisite
Nasta‘llq
by the hand
Mashhadi; the writing runs 15
of the
lines to a
page
Lacquer Painting on a Manuscript Cover Ms. No.
21, inside of
back cover (see page
ltJO)
MIR in
NAWA’l
‘ALI SHIR
l6l
two columns separated by double rulings
by
heavily bordered
The paper
is
of gold,
and
and
red.
lines of blue, gold, orange,
a fairly light laid paper of regular texture and
a comparatively high
with somewhat of an ivory
finish,
shade, the written part of the page being dusted with gold so as to lend additional elegance to the copy.
— Both the name
Date and Scribe.
of the scribe
and the date which runs
of the manuscript are given in the colophon,
as follows
(may
of
:
his sins
[905 a.h. ‘All
‘
—
Written by the poor Sultan
1499-1500
al-Mashhadl
a.d.] at the capital, Herat.’
Mashhadi, who was called
penmanship,
of Nasta'liq
‘All
be forgiven!) in the year nine hundred and five
‘
Sultan
from
’
his
mastery
acknowledged to have brought the art
is
handwriting to
its
highest perfection, and he
enjoyed the special favor and protection of Nawa’i as a patron.
He
is
known
Bahzad
miniaturist
to
have co-operated with the famous
in preparing a royal
manuscript of the
History of Tamerlane, which formed a part of the collection of
works in the library
Mughal Emperor Humayun of Akbar
of the
and which afterwards passed into the possession the Great.
Mashhadi’s death occurred in 1513
was buried
in his birthplace, the city of
further details regarding les
him
miniaturistes de V Orient
a.d.,
and he
Mashhad.
For
see Huart, Les Calligraphes
musulman,
p.
221-222
;
et
likewise
Sarre and Martin, Meisterwerke Muhammedanischer Kunst, 1.
plates 23, 31,
Memorandums. giving the
the
title of
in Turkish. in
Munich, 1912.
— On On
the
fol.
page
first
arrested.’
;
a Persian
book and noting that 28 a
is
badly faded ink, saying
Muhammad Nuyan
is
another Persian ‘
:
This book
any one that
is
memorandum it is
composed
memorandum
the property of
steals or sells it will
The miniatures have been numbered
Persian figures on the margins.
be
later in
TURKISH MANUSCRIPTS
i 62
Subject
—A
and Arrangement.
collection of
Dlwan
of Nawa’i, containing a
more than eight hundred ghazals,
or odes, to-
gether with some other short poems, gathered into a group
one or two years before I.
his death,
and arranged as follows
Ghazals (816 in number; 53 of which rime in Alif),
36-2346.
—
II.
Bada'i‘ verses, or cunning odes (five in
ber), fob 2346-237(1.
fob 2370-2506.
—
TarjVdt, or
III.
:
fol.
num-
poems with a refrain,
— IV. Ruba‘is, or quatrains (33 in number),
together with three hemistich Fards, fob 2506-2540. 1
Illuminations
and
Illustrations.
— The
two front pages are
occupied by full-sized illuminations of elaborate design.
There are ornate caption-bands to each of the eight hundred
and more odes contained gold-besprinkled, richly
set
off
in the book.
All the pages are
and those opposite the miniatures are
by gold
which are added
interlineations,
likewise in the text above
and below the paintings.
Besides
the two illustrations on the inside of the lacquer covers,
described above under
‘
Binding,’ there are fifteen fine minia-
These miniatures are nearly
tures to illustrate the text. of full-page size,
and they show
Herat school at the time.
They
are
all
work
the
of
one
artist,
but no name
tional,
chosen to match the special theme of the ode that
illustrated. is
the
ruler
The
is
given.
Their subjects are conven-
portrait of the king
who
same throughout, with the exception
125a, 2096.
1
in style the high art of the
is
represented
of fob 26, 176,
It is possible to conjecture that the
represents
Sultan
Husain
Baiqara,
is
the
younger
Timurid
This manuscript bears no special title-heading to show which of the four
it is, into which the poems were finally grouped before the poet’s death, and it has no preface, but it has the same beginning as one of the dlwans of Nawa’i in the British Museum (Add. 7910) described by Rieu, Cat. Turkish Mss. Brit. Mus., Add. 7910, p. 296, London, 1888, the opening of the first
dlwans
ghazal in both copies being,
^
)
MLR
monarch
of
NAWAL
‘ALI SHIR
Khurasan, to
whom
1 63
Nawa’I was minister.
His royal consort was Khadijah Begum Aqa is
;
possibly she
represented, as indicated, in four of the miniatures noted
below.
The
king (four
elder
times
possibly be Husain’s father, Mansur.
represented)
These miniatures,
in addition to the lacquer paintings, are as follows: I
(
a-b I
fol.
ib-2a.
fol. 2b.
Two
full
may
—
pages illuminated as frontispieces.
A king pronouncing sentence;
his son is stand-
ing near him. 2 (c)
fol.
3a.
fol. 3b.
Convivial scene in a king’s harem. Illuminated head-piece
to
the
collection
of
poems. 3
fol.
176.
A
king with his attendants by a stream in a garden.
4
fol.
27 b.
The king and
his consort enjoying
music
in a
garden. 5
fol.
51c.
6
fol.
74a.
The king listening to a court poet. The king seated beneath a tree and about
to
partake of wine. 7 8
fol.
85a.
A
fol.
108a.
The king and
scene in the king’s royal chamber. his consort
under a pavilion
out of doors.
9
fol.
125a.
A
xo
fol.
1416.
11
fol.
1536.
The king out riding meets with his consort and her handmaiden on horseback. The king and his son listening to women
12
fol.
171a.
A
13
fol.
209 b.
king under a pavilion surrounded by his courtiers.
musicians. levee by the king under the trees. Female musicians playing before a king and
his
consort in their tent. III
14
fol.
237 b.
i5
fol.
245a.
The cupbearer hands wine to the king. The king giving orders to his officers of
state.
TURKISH MANUSCRIPTS
164
22 Mir
Shir Nawa’i
‘Ali
Shabab, or
‘
Second Diwan,
:
entitled
The Choice Things of Youth.’
Nawadir ash-
This manuscript,
belonging to the last quarter of the sixteenth century (being
dated
1580
and written
a.d.),
in Jaghata’I,
or
Eastern
Turkish, contains a collection of ghazals, or odes, and other short poems,
adorned by
by Nawa’i;
it is
ornately illuminated and
five full-page miniatures,
two
of
is
them occupying
the front and the last page respectively. Size.
— iof X in.
(17.6
fol. 77,
word
is
X
7 in. (27.3
X
10.2 cm.).
133, 169
;
17.8 cm.)
written surface, 6|
a folio
not however after
fol.
is
X
4
missing after
where the catch-
201,
erroneously taken from the second line of the next
page, instead of from the
Binding.
;
Folios 224;
first line.
— Rebound in the original Persian flap-covers
leather embellished
Both covers
by designs
of
dark
after the style of the period.
are identical in model.
The pattern and
colors
are best preserved on the flap, which coincides precisely with the covers in design,
and shows a panel
leather with gold stamping
and
of pressed black
tendril pattern, surrounding
a central medallion of blue, orange,
and green, forming
a pendulum between two corresponding smaller pendants
above and below, corners of the
field.
by decorative angles at the The whole is bordered by a framework
offset again
of panel-bands, all of which, like the other patterns, exhibit
the remains of filigree
work
even though the tooling of
the
finely cut out of the leather,
is less
skilfully
bindings already described.
done than
The
overspread with a plain red leather, such as
in
some
inner cover is
is
often used in
Persian bindings, and has the stitching of the two head-
bands done in the
style called Shirazi.
MIR Writing and Paper.
‘ALI SHIR
— The writing
by a beautiful hand, 14 separated by a heavy bar flower design in black
NAWA’l
165
a medium-sized Nasta‘liq,
is
a page in two columns
lines to
of gold
and green with a running
the border lines that surround the
;
written surface are of green, orange, gold, white, and blue.
The paper, tinted a dull pink color, somewhat uneven in composition
date in the colophon (where the
title
repeated as Nawadir ash-Shabab, or
is
fully written out in
added as
‘
Memorandums. 224a
one
;
988
i.e.
Qasim
a.h.
words as
=
‘
‘
Second Diwan
’)
nine hundred and eighty-
1580 a.d.
The
scribe’s
name
is
‘All of Shiraz.’
— There are two small oval is
is
laid
in
is
eight,’
and
distinguishable.
— The
Date and Scribe.
of a laid base
some cases the
;
marks are hardly
is
that of a person
been partly destroyed
seals
stamped on
named Musa, but
in rebinding
fol.
the other has
and cannot be deciphered.
There are no memorandums except some unimportant
numbers recently made on the
pencil jottings of
and some marginal
leaf,
lents for Turkish
Subject
and
in
—
II.
1920.
notes, in ink, of the Persian equiva-
words on
Arrangement.
hundred
last fly-
—
fol.
I.
141 a, 141 b, 142 b.
Ghazals,
or
about
six
Alif), fol.
16-
odes,
number (37 of them riming in Mustazad, or distichs with a
supplement,
Mukhammas, or quintuple verses, 1920-1930. — 1930-1970. — IV. Saqi-namah, a book of verses on wine, 1970-2010. — V. Masnawis, or rimed couplets, 2010-2066. — VI. Muqatta‘at, or miscellaneous short fragments, 2066-2130. — VII. Ruba‘iyat, or quatrains, 2130III.
fol.
fol.
fol.
2240.
Illuminations and Illustrations.
ously illuminated.
and a
— The
manuscript
Besides the embellished
is
sumptu-
frontispiece
half dozen smaller title-bands, there are also
two
ornamental framework designs with floweret wreaths at the
TURKISH MANUSCRIPTS
1 66
beginning of each of the six hundred odes; there are
like-
wise similar ornamental triangles adorning the entire series of quatrains.
A
heavy interlineation
the page opposite each miniature. selves are apparently the
Safavid period, but not
work
named
of ;
a single
and
resent themes referred to in the odes.
1
fob la.
VII
(a) fob ib.
of the
they rep-
.
noon-day meal.
Illuminated title-piece to the Ghazals.
2
fob i$b.
A
3
fob 59&.
Hunting-scene.
4 fob 186 b. 5 fob 224 b.
artist,
in subject
Out-of-door scene with preparation being for a
I
of gold embellishes
The miniatures them-
A A
contest of
skill in
archery on horseback.
tournament at arms. scene of conviviality at court.
made
ARABIC MANUSCRIPTS
IX
QUR’AN
*
QUR’AN The
sacred book of the
Muhammadan
religion, containing the utter-
ances of the Prophet as a direct revelation from Allah through the angel Gabriel.
These varied discourses, extending over a period of to Muhammad’s death in 632 a.d., are
more than twenty years down
comprised in 114 chapters, called surahs, of different lengths; and they are arranged in general according to the length, the longest first
and the shortest
and not according
last,
time of their utterance.
to the subject-matter or the
Earliest in the point of time are the surahs
delivered at Mecca, between 610 and 622 a.d. livered at
Medina, after the Flight (Hijra)
;
those which were de-
in 622 a.d.,
form a
later
group.
The contents prising
of the
Muhammad’s
Qur’an
may
briefly
be summarized as com-
teachings regarding the unity of
God and
divine nature of the prophetic mission, the doctrine of a future
heaven and
hell,
the life,
other special tenets of the faith and rites to be
much
observed by true believers, together with
narrative material
drawn from antiquity. The earliest redaction of the work as a sacred book was made in 633 a.d., a year after Muhammad’s death, by his secretary, Zaid ibn of a didactic character
§abit, at the
command
of the Caliph
Abu
Bakr.
A
second redaction
was made nearly twenty years later, in 650 a.d., under the supervision of the same scribe, at the bidding of the Caliph Ogman; and this became the recognized standard of the canon.
The veneration
in
which the Qur’an
is
held led naturally to the
bestowal of the greatest care and lavish expense on the preparation of copies of the text.
Religious merit was believed to accrue to one
transcribed a manuscript of their religious devotion
it
;
who
and even kings and princes showed
by accomplishing the
manuscript described below.
171
task, as in the case of the
ARABIC MANUSCRIPTS
172
23-24
— A very beautiful and interesting copy
Qur’an.
bound
in
two volumes and bearing the date Fourth
Ramadan 830 is
Qur’an
of the
a.h.
=
June
especially valuable because
it
Ibrahim Sultan, the grandson
of
Tamerlane, and passed
down through
the line of the Great
contains a long
memorandum
more than two centuries
of
The manuscript was copied by the hand of
29, 1427 a.d.
Mughal
Rulers, as
(given below), which was
on the back
later,
by the Emperor Aurangzlb, then a prince
it
made
of the last folio, in his twentieth
year, thus showing that he also personally used this copy.
Size
.
— 8X sh X
(13.7
in* (20.3
X
8.7 cm.).
in the second
14.0 cm.)
five verses before the
Binding.
— Rebound
color,
no
X
3J
in.
in the first volume, 267 folios;
Folios:
volume, 268
written surface, 5!
;
This latter volume begins
folios.
end of Surah
18, entitled
The Cave. maroon
in old Oriental leather covers of a
with medallion and pendants blind-pressed, but with
special ornamentation.
Writing and Paper.
— The
hand which does
writing
is
full credit to its
text
is
vocalized throughout.
and
is
inclosed
by
princely copyist
is
made
;
and the
It runs 10 lines to a
gold, orange,
blackness of the ink
a very elegant Naskh!
the
and blue
page
The
rulings.
more noticeable by the
gilding between the lines, while
all
rich
the chapter-titles are
written in a blue ink, the last few alternating with gold.
The punctuation between gold period.
body
There are
of the text
the verses
also
is
marked by a
numerous rubrics both
large
in the
and on the margins, as well as marginal
annotations in black by different hands. tations, of a critical
These anno-
and technical nature, were probably
added by scholars at the court
of
Shah Rukh, the father
of
Sultan Ibrahim Mlrza, after the prince had finished copying
A King
listening to a Court Poet
Ms. No. 21,
fol.
51« (see page 163)
qur’an
173
the book, because the illuminations on the borders were
painted after the notes were made, as
manner
proved by the careful
is
which they are traced to avoid interfering with
in
the writing. 1
The paper
in
both volumes
and has a
in weight,
dull finish
;
quality,
medium
texture has
become
same
of the
is
its
The fly-leaves are when the two volumes
slightly brittle with the lapse of time.
of a later date
and belong
to the time
were rebound.
— Both are given in the colophon
Date and Scribe.
volume
(vol. 2, fol. 267 a), the
Ramadan
830 a.h.
4,
=
in the second
date of the completion being
June
1427.
29,
The
scribe,
as
already stated, was a grandson of Tamerlane and son of
Shah Rukh, and gives bin Shah
Rukh
bin
name
his
in full as
Timur Gurgan.
was a renowned patron
of letters,
Ibrahim Sultan
This Ibrahim Sultan
and under
his personal
was prepared the well-known history
supervision
of his
grandfather’s achievements, entitled the Zafar-namah, or ‘
Book
of
Tamerlane’s Victories,’ which was compiled by
his teacher Sharaf
Ibrahim was famous
ad-Dln ‘AH YazdI.
for his six different styles of handwriting,
that a specimen of signed with
the
his
name
style he could imitate, 1
The nature
of a
was
of these annotations
on the orthography served in reciting
is
famous
;
it
is
calligraphist,
so perfect masoretic
;
of the text, variant readings,
it
and
related
penmanship which he purposely that
it
whose
was taken
they consist of comments
and the pauses
to be ob-
they are often marked with a letter to denote the
Reader ( Qdri ) or Traditionist ( Rdwi ) upon whose authority they A list of these ten Readers and twenty Traditionists is given on folio (fol. 268a) of the second volume (compare also Noldeke,
particular
are based.
the last
Geschichte des Qoran’s, pp. 287-298, Gottingen, i860).
The Thirty Divisions
and the Sixty Subdivisions (Ahzdb ), into which the Qur’an is divided for convenience in recitation, are regularly indicated on the margin in red letters. The names of the Surahs are marked in black ink in a minuscule hand on the upper left-hand corner of the folios. (Ajzd’)
ARABIC MANUSCRIPTS
174
an original and was sold
for
He
high price. after
in the market-place for a very-
died in 1430 or 1431 a.d., about six years
he finished transcribing the present manuscript; see
also Huart, Les Calligraphes et les miniaturistes
and compare
Memorandums.
Elliot,
History of India,
— As already noted, there
last folio of the
second volume, a
written.
on the back
by the hand
it is
Mughal Emperor Aurangzib, then a more than two centuries
is,
96-97
p.
,
;
391. of the
memorandum which
the greatest interest and value, as
year, or
3.
is
of
of the
prince in his twentieth
after the
manuscript was
It is in Arabic, as suited to the
language of the
Qur’an, though in the Persian style of handwriting
memorandum
reads verbatim as follows ‘
In His
This Excellent Book
God
the
;
page around
of the court artists has gilded the
:
—
and one it.
The
Most High.
Name — Praise
be to Him. and Discourse, which speaks the
namely the Venerated Qur’an, the Exalted Scripture,
in the
truth,
hand-
writing of the grandson of the greatest of the sultans of time and the
sublimest of the kings of the ages
[i.e.
in the
handwriting of Tamerlane’s
grandson], Sultan Ibrahim, son of Mirza Shah Rukh, son of
Amir
— (may [God] cause them to dwell the highest gardens of Paradise!) — which book has been intrusted to me, and the keeping of an obligation upon me. I — who rely upon the Timur Sahib Qiran it
1
in
is
assurance of His universal grace and upon the intercession of His
when He
Prophet,
shall resuscitate the
(?) — am Aurangzib,
bones and rebuild
(
?)
the body
the son of the sultan of sultans and most just
king of kings, Shihab ad-Din
Muhammad
Sahib Qiran the Second,
Shah Jahan the Victorious Emperor,2 may his kingdom and empire In the months of the year one thousand and fortybe everlasting !
1
These
last four
words, giving Tamerlane’s
understanding the long 2
Aurangzib adds
Emperor so as memorandum. ’
to
in
name
as a help towards
by Aurangzib himself in the margin. the margin the words Shah Jahan the Victorious
titles,
make
are added
‘
clearer the application of the long titles in his
qur’an eight from the Flight of the Prophet
Upon
its
Lord be most copious
i75 1048 a.h.
[i.e.
=
1638-1639
The only other memorandum is of a later date and
last fly-leaf
two
consists of
lines of a
it is
;
a.d.].
’
and benedictions!
blessings
on the
prayer in Arabic
invoking the blessing of God. Subject. in
— The
Qur’an,
Sacred Book of Islam,
or
Appended
one hundred and fourteen Surahs (chapters).
after the colophon,
Ibrahim,
is
and
same hand
in the
still
complete
of
Sultan
a prayer in eleven lines (found also in other
copies of the Qur’an) to be repeated after reading the sacred
book
it
;
Following
around ‘
begins, this, in
it, is
‘
O
and
Allah, benefit
uplift
me,
etc.’
a different hand, but with illumination
the brief
the ten
list of
‘
Readers
’
and twenty
Traditionists,’ as explained in a previous footnote.
Illuminations.
— The
manuscript
is
ornately illuminated with
two introductory medallions (described below), three rich title-pieces,
and with highly decorated borders.
These
borders have delicate foliated designs painted in gold
and
thirty-one of
them have extra adornment
very
flowered pattern traced in different colors
artistic
upon a background
of gold.
illuminations are as follows (
;
a-b )
fol.
ib-2a.
Two
:
—
The main
consisting of a
details as to the
octagonal rosette medallions illuminated
with gold and blue designs and centered in the midst of foliated ornamentations which are similar to the general decorations of the
borders throughout the manuscript. these medallions following
Qur’an genii
is
appropriate
itself
(17.90):
came together
this Qur’an,
Within
inscribed, in white ink, the
quotation
from the
Tf mankind and the
to produce the like of
they could not produce
its like,
even though the one of them should the other.’
assist
176 ( c-d) fol. 2 b~2,a.
ARABIC MANUSCRIPTS
Two
illuminated full-page
titles
including the
opening Surah of the Qur’an. (e) fol. 3ft.
Illuminated title-piece for the second Surah.
Thirty-one
extra-illuminated
tioned above
;
borders,
men-
these are found at the places
marking the majority of the Divisions, called Ahzab they are mostly in pairs on opposite pages, and occur on the following folios: ;
First volume, fol.
196,
20 a, 54 ft, 55a, 90 ft,
gia, 1436, 144a, 178ft, 179 a, 213ft, 248, 247ft, 248a. Second volume, fol. 16ft, 17 a, 50ft,
—
51a,
85ft,
225 a,
86a, 120a, 121ft, 155ft, 156a, 191ft,
228ft,
(List of
266ft,
267a, 267ft (Prayer), 268a
Readers and Traditionists).
Arabic Memorandum in the Handwriting of the Mughal Emperor Aurangzib Ms. No.
24, fol. 2686 (see
page 174)
INDEX
INDEX In the alphabetic arrangement of names in this index the prefix disregarded.
Names
of
Dates
(a.d.) are
works are printed
in italics.
A
A’in
‘AbbasI, Rida, artist
(fl.
1640),
al-Karim
scribe
(fl.
al-Qudat
of
Khwarazm,
rau, 122, 123
Akbar the Great, owner,
1475), 141
‘Abd al-Qadir of Na’in, author,
‘Alam-glr,
name
Aurangzlb
84
‘Abd ar-Rahlm,
scribe
(fl.
1475),
‘All bin
‘Abd ar-Rahman of Khwarazm, (fl.
‘All
author, 83
(q.v.)
Ahmad,
author, 104
Abkar al-Afkar,
84,
‘Ah
NaqI,
Shams
(17th cent.),
artist
Amir Khusrau
86
106
of Delhi, author
(d. 1325), 104,
119-123
ad-Din, teacher of Sa‘dl, 101,
Amir Nizam, owner
106
Anwarl, poet
Ishaq, Shaikh, of Shiraz (d.
1357 ), 133 134 Abu’l Ma‘a.11 ‘Abdallah, ,
(d.
Abu Adlb
author
X130 or 1138), 85 Sa‘ld, Sultan, 143
Sabir, poet (d. 1147), 84
Afdal ad-Din KirmanI, author, 86
Ahmad, Qadi, scribe (1815), 80 Ahmad, Sayyid ( ?), a Murid, no Ahmad, Sultan, Turkish ruler (1703), owner, 55
in
(al-)Mashhadl, called Sultan,
xxiii, 34, 35, 36,
Abu’l Faraj ibn al-Jauzi,
73-75
emperor
scribe (d. 1513), 61, 147,160, 161
1450), 141
‘Abd ar-Rahman JamI, Maulana,
Abu
71,
of the
‘Ah al-Husainl, Sayyid,
141
scribe
Ma'all
Abu’l
of
‘Abdallah, 85
A ’inah-i Iskandari of Amir Khus-
xvii n., xxiv
‘Abd
has been
al-
given whenever possible to facilitate identification.
—
(fl.
(1894), 31
1175), 84
Aqa names beginning with Aqa must be sought under one of the other
components
Aslr ad-Din Akhslkati, poet (12th cent.),
86
‘Attar, Farid ad-Din, author
(fl.
1200), 83, 85, 86, 88, 89
AuhadI,
Rukn
ad-Din, author
(d.
1337), 84, 86 Aurangzlb, Mughal emperor, 109,
no, in,
112, 174-175
i
INDEX
So
Azhar, Maulana, of Herat, scribe (d. 1475 - 6 ), 72 Azhar, Maulana, scribe (1580),
Fakhr ad-Din ‘Abd a§-Samad, 133 Fakhr ad-Din ‘Iraqi, author (d. 1287 or 1289), 84, 85, 87
Fakhr ad-Din Ra’Is Mahmud,
72, 74
B Babar, Shah
author, 86
(d. 1457),
Fardiyat (Fards), ‘detached dis-
143
Bada’i' verses, 105, 162
tichs,’ 105,
Baha’i, Shaikh, author (d.
1620-
1), 87 Baharistdn of Jaml, 139 Bahrdm-namah of Ni?aml,
(1879), 15
Farid ad-Din al-Ahul, author, 86 see
Haft Paikar
Bahzad, 72 -
Farid ad-Din ‘Attar, author
1500), 63, 71,
(fl.
-
,
Husain Sultan, Timurid
Mlrza
Baiqara,
Fatih, 130 Firdausi, epic poet
77 79 98, 161 ibn,
44, 83, 84, 86,
(fl.
1000), 5-
89-90
ruler (d. 1506),
G
61, 147, 162-163
Baisunghar Preface of the Shahnamali, 32
Ghazals, odes, 83, 84, 86, 130, 143, 162, 165
Mu-
Bin Shams ad-Din Shaikh
hammad,
scribe (1669), 29, 30
Ghulam ‘All, owner, 104 Ghulam Parmak, artist, 35
Blantyre, Alex. Lord, owner, 76
Gulandam, author, 130
Bustan of Sa'di, 107, 108-115
Gulistan of Sa'di, 85, 104, 106
xvii n., 86, 105,
H
C Churchill, Sidney
Cochran, A.
S.,
I.
A., owner, 50
donor of the
Hafiz, poet (d. 1389?), 84, 127-
135
of Hafi?, 129-135
55, 57, 63, 65-66, 68, 70, 71-79,
of Jaml, 140-145
84, 89
Diwdns
of
Mir
‘All Shir
Nawa’I,
160-166
Hasan
‘All,
Amir Nizam, owner
(1894), 31
F ‘All, artist, 35, 36, 37,
38
Fadl Allah, of Rai, owner (1908), 147
Sana’I, 84
Haft Aurang of Jaml, 1 51-154 Haft Paikar of Nizami, 47, 50, 52,
D
Fadl
Hadiqah of
col-
lection, xvii
Diwan Diwan
(fl.
1200), 83, 85, 86, 88, 89
artist
73 ,
162
Farhad, son of the Crown Prince
Hasan Ghaznavl, Sayyid, author (nth cent.), 86 Hasan Husam ad-Din, pupil of RumI, 98
INDEX Hasan ibn al-Husaini Muhammad, binder or scribe, 102-103 Hasan ibn Muhammad, of Larissa, scribe
Isma'il, Shah, Safavid
Hasan Qalandar, Darvish, author, ’
(d.
Isma‘il ‘A$im ibn ChalabI Zadah,
1 ‘timad ad-Daulah,
Amin Khan
83
Hasht Bahisht of Amir Khusrau,
1 ‘timad
Hidayat, owner, 63 lit.
his-
(d.
Khan,
Jahan, 75 1 ‘timad Khan,
122, 123
Hidayat Rida Quli Khan,
ruler
1524), 62
owner, 55
1611), 103
(fl.
181
(d. 1660),
Muhammad
1721), 76 n.
official
Shah
of
Sarmad, author
75 n.
torian (d. 1871), 63
Khwajah, official (1658), 76 Hodson, Laurence W., owner, 50
J
Hilal,
Ja‘far,
Aqa, owner, 82
Husain,
Aqa
(1815), 80
Jahangir,
Husain
‘All
Mirza, son of Fath
Jahangir
‘All
Mughal emperor, xxiv
Khan
‘Alamgir, 104
Jalal ‘Adud, Sayyid, author, 84
Shah, prince, 62
Husain Mirza ibn Baiqara, Sultan, Timurid ruler (d. 1506), 61, 147, 162-163
Husain Mirza, Shahzadah Sultan, owner (1884), 62 I
Jalal
Rumi,
poet
(d.
Jamaji Mobedi, owner, 76 JamI, poet (d. 1492), 86, 87, 90, 139-154 Jauzi, Shams ad-Din Abu’l Faraj ibn
Yamin, poet (d. 1344-5), 83 Ibrahim Sultan, son of Shah Rukh, prince and scribe (d.
ad-Din
1273), 84, 85, 93-98
al-,
teacherof Sa'di, 101, 106
Ibn-i
i 43 °-i). I 7 2 ,
Khan,
‘Inaiat
Jahan
173 174 175 official
of
Shah
no
Fakhr ad-Din, author
(d.
1287 or 1289), 84, 85, 87 ad-Din, poet (d.
Isfrangi, Saif
1267-8), 85
Iskandar-ndmah
scribe
Kamal ad-Din
Mahmud
.
.
.
Rumi, owner, 81
Iqbal-namah of Nizami, part of the Iskandar-ndmah (q.v.) ‘Iraqi,
Kamal ad-Din bin Ibrahim, (1602), 15
,
(d. 1666),
K
Karim Khan Qanbarali, owner, 114
Khadijah Begum Aqa, wife of Sultan Husain Baiqara, 163
Khamsah
of
Amir Khusrau, 120-
123 of
Nizami, 48,
50, 52-53, 55, 57, 60, 63, 66-67,
68, 70, 84, 89, 139
Khamsah
of
Nizami, 47, 49-70,
82, 83
Khaqani, poet
(d.
1185), 86
INDEX
182
Khawatim,
‘
signet-ring
poems,
’
Khir ad-namah-i Iskandari, poem Khir ad-namah-i Iskandari, poem Ni?ami,
of
part
the
of
Iskandar-namah (q.v.) Khusrau u Shirin of Nizami,
69, 84, 88
(d. 1363), 127,
>
I3: 3
(d.
I skandar-namah
Ni-
of
zami, see I skandar-namah
Koran, see Qur’an
artist, 122,
Majnun
123
‘
(1843),
servant
Shirin, of
’
of
elegies,
,
xxii,
58,
‘All
(al-),
scribe (d.
1513), 61, 147, 160, 161
Masnawi
ad-Din Rumi,
of Jalal
95-98 Magnawis, rimed couplets, 130,
artist (16th cent.), 105
Sultan, of
Ghazna
(d.
al-
Anwar
of
Amir Khus-
rau, 122
Mir Shah
3i, 34, 3 6
author
(d.
poet
(d.
1337), 84, 86
ad-Din,
Jalal
1273), 84, 85, 93-98
0 Omar Khayyam,
see
S
‘Umar
Sa‘d ad-Din, Maulana, of Kash-
P Panj Ganj
of
Ni?ami, see
Kham-
sah
1226), 101, 106
(d.
Parmak, Ghulam, artist, 35 Payandah Muhammad, scribe
Q
1291), xvii n.,
(d.
84, 85, 86, 90,
101-115
105
Qadi Ahmad, scribe (1815), 80 Qamari, Saraj ad-Din, Maulana,
Saif
ad-Din
poet
Isfrangi,
(d.
1267-8), 85
Saldmdti u Absal of Jami, 153,
author, 84, 86
Qa§idahs, panegyrics, 83, 84, 105,
154 Salih,
107, 130, 143 ‘All of Shiraz, scribe (1580),
Salih,
owner (1763-4), 68 Murshid of Shah Jahan,
no
165
Qiwam, Muhammad,
of Shiraz,
scribe (1556), 149
Qiwam
Sa'di, author
Sahib-Diwan, Shams ad-Din, 105 Sahibiyyah, epigrammatic poems,
(1647), 109
Qasim
ghar (d. 1455), 143 Sa‘d bin Zangi, Atabek of Fars
R
of
Sawah, Maulana, poet
Saqi-ndmah
Rafi‘ ad-Din Abhari, author, 86 of Na§ir
Khus-
of
Mir
(fl.
1640),
‘
All
Shir
Nawa’i, 165 Saraj ad-Din
Qamari, Maulana,
author, 84, 86 Sarmad 1 ‘timad
rau, 84, 86
xvii n., xxiv
Salman (d.
Qur’an, 171-176
Rida, owner, 149 Rida ‘Abbasi, artist
12 1,
about 1376), 84, 85 Sana’I, poet (fl. 1131), 84 Sdql-ndmah of Mashriqi, 87
130
Raushand’i-namah
artist,
122, 123
ad-Din, Khwajah, vizir
(d. 1363), 127,
Muhammad,
Salim,
(d. 1660),
Shaft',
75 n.
owner, 130
Khan, author
INDEX Shah
Isma'Il,
Safavid ruler
(d.
1524), 62
xxiv, 30, 71, 75, 76, 109,
Shah Mansur Muzaffar Shah
(d.
no
147
owner (Calcutta,
Stuart, Chas.,
Muhammad
of
Sabzavar,
scribe (1587-8), 9 of Firdausi, 5-44, 83?
89-90 Shah Rukh, owner, 122 84, 86,
Shah Shuja'
154 Smith, R. Murdock, quoted, 146-
1392),
r 33
Shdh-ndmah
Shukr Khan, owner, in adh-Dhahab of JamI, 153-
Silsilat
Shah Jahan, Mughal emperor,
13°,
185
of Shiraz (d. 1384),
1766), 76
Subhat al-Abrar of JamI, 153 Sulfan Ahmad, Turkish ruler,
owner (1703), 55 Sultan Husain Mlrza ibn Baiqara, Timurid ruler (d. 1506), 61, 147, 162-163
130, 134, 135
Shah Tayyib, prince and poet
Sultan
Nur, scribe
(1525), 60, 61
(17th cent.), 30 n.
Shahzadah Sultan Husain Mlrza, owner (1844), 62 Shaikh-zadah
Muhammad
Mahmud,
Turkoman
Sultan Ya'qub,
ruler,
141
artist
T
(1539), xviii n., 106
Shams ad-Dln Abu’l Faraj ibn
Tamerlane
(d. 1405),
130
al-jauzl, teacher of Sa'di, 101,
Tarjl'at
106
poems,’ 83, 105, 130, 143, 162 Tarklb-bands, strophe-poems, 143
Shams ad-Dln, Sahib-Dlwan, 105 Shams ad-Dln, Bin, Shaikh Muhammad, scribe (1669), 29, 30
Sharaf ad-Dln Bukhari, Mulla,
Khwajah
Shihab
ad-Dln
Tayyibat,
‘
official,
30
pleasant odes,’ 105
Timur Lang (Tamerlane), Amir
author (1303), 86
Sharaf-namah of Nizami, part the I skandar-ndmah (q.v.) Shihab,
refrain
(17th cent.), 30 n.
Tayyib Khan,
173
'
Tawarikh-i Nizam, 83 Tayyib, Shah, prince and poet
Sharaf ad-Dln ‘All Yazdl, author (d. 1454),
(TarjI'-band),
of
(1647), 112, 113
Ahmad
(d. 1405),
130
Tuhfat al-Alirar of JamI, 153 Turan Shah, Khwajah, vizir
Talish,
(d.
i3 8 5), i3°> 135
author (1662), 112
Shinn u Khusrau rau,
1
of
U
Amir Khus-
22-1 23
‘Umar
Shuja', Shah, of Shiraz (d. 1384), 130, 134, I3S
poet ‘
Khayyam, (d. 1123), 83,
U shshdq-namah
astronomer87
of ‘Iraqi, 87
INDEX
i86
V Valentiner,
W.
R., quoted, xxii,
Yunis, Shah Zadah, 9 Yusuf u Zulaikhd of Jami, 86, 139, I45-I5 1 153, 154 ,
50-Si, 77
Y Yahya
ibn
Shiraz
Z
Muzaffar,
(d. 1430), 130,
YarrJn, Ibn
i-,
poet
(d.
ruler
of
1344-5),
141
al- ‘Abidin,
owner (1776),
Zangi, Sa'd bin, Atabek of Fars (d. 1226), 101,
83
Ya'qub, Sultan, Turkoman
Zain 150
134
ruler,
Zarin Qalam,
106
title of
IJusain, scribe
(fl.
Muhammad 1600), 22 n.
AND ARTISTS
LIST OF SCRIBES This
list
includes not merely the calligraphists
and miniaturists represented
in
the manuscripts of the collection, but also those incidentally referred to in this
For page references and further details see the Index.
volume.
Scribes
Mahmud Murtada
‘Abd al-Karim of Khwarazm ‘Abd ar-Rahlm ‘Abd ar-Rahman of Khwarazm Ahmad, Qadi ‘All
Mir
mad
(binder
(d.
Muhammad Amin, Mulla Muhammad Husain, called Muhammad
La-
rissa
Ibrahim
Sultan,
son
of
Rukh Kamal ad-Dln
Mahmud
of
bin Ibrahim
Sabzavar, called
Shah
ibn Mulla
al-
Muhammad Nur, called Sultan Muhammad Qiwam of Shiraz Na'Im ad-Dln Payandah Muhammad Qasim ‘All of Shiraz Shams ad-Dln, Bin, Shaikh Mu-
hammad Artists
NaqI Bahzad
Mlrak
Fadl
Ghulam Parmak
Nuyan, Aqa Rida ‘AbbasI
Lachln
Shaikh-zadah
‘All
Mir
Husainl
Nlshapur
‘All
Zarln
Qalam
?)
of
of
Shah
Hasan ibn al-Husaini MuhamHasan ibn Muhammad,
al-Husaini
al-Husaini
Muhammad
(al-)Mashhadl, called Sultan
Azhar, Maulana, of Herat 1475 6 ) Azhar, Maulana (1580)
‘All
Muhammad
Mahmud 187
Salim
Mahmud
COLUMBIA UNIVERSITY PRESS
COLUMBIA UNIVERSITY
INDOIRANIAN SERIES Edited by A. V. Williams Jackson Professor of Indo-Iranian Languages in Columbia University
Volume i. A Catalogue of the Collection of Persian Manuscripts (including also some Turkish and Arabic) presented to the Metropolitan Museum of Art, New York, by Alexander Smith Cochran, prepared and edited by A. V. Williams Jackson and Abraham Yohannan, Ph.D. New York, 1914.
Cloth 8vo, pp. xxv ,
+ 187,
ill.,
$1.50 net
The collection of Oriental manuscripts catalogued in this volume was presented to the Metropolitan Museum in March, 1913. All of the manuscripts, a number of which are in certain respects unique, are handsomely The catalogue records illuminated and adorned with beautiful miniatures. the technical details, as well as matters of literary and historic importance connected with the volumes.
Volume 2. Indo-Iranian Phonology, with special reference to the Middle and New Indo-Iranian languages, by Louis H. Gray, Ph.D., sometime Fellow in Indo-Iranian Languages in Columbia University. New York, 1902. Cloth, 8vo, pp. x vii
A
+ 264,
$1.50 net
developments undergone by the principal Indo-Iranian languages from the Sanskrit, Avestan, and Old Persian through the Pali, the Prakrits, and Pahlavi down to the Hindi, Singhalese, New Persian, Afghan, and other Indo-Iranian dialects. brief statement of the phonetic
Volume 3. A Bibliography of the Sanskrit Drama, with an introductory sketch of the dramatic literature of India, by Montgomery Schuyler, Jr., A.M., sometime Fellow in Indo-Iranian Languages in Columbia University. New York, i °6 Cloth, 8vo, pp. xi-\- 105, $1.50 net 9 -
The of
all
design of this bibliography is to give as complete a list as possible printed and manuscript Sanskrit plays and of articles and works re-
lating to the
ome
Hindu drama.
of the whole subject.
The
introduction furnishes a convenient epit-
2
Volume 4. An Index Verborum of the Fragments of the Avesta, by Montgomery Schuyler, Jr., A.M. New York, 1901.
Cloth 8vo, pp. ,
This index
collects
and
cites all
xiv+
106, $1.50 net
examples of each word found
hitherto discovered fragments not included
in
in the Geldner’s edition of the
Avesta.
Volume 5. Sayings of Buddha the Iti-vuttaka, a Pali work of the Buddhist canon, for the first time translated, with introduction and notes, by Justin Hartley Moore, A.M., Ph.D. (Columbia), Instructor in French in the College of the :
City of
New
York.
New
York, 1908. Cloth, 8vo, pp.
xx
+ 140, $1.50 net
This volume presents a Buddhistic work not hitherto accessible in transThe introduction treats of the composition and general character of the work, the authenticity of certain of its sections, and the chief features of its style and language. lation.
Volume 6. The Nyaishes, or Zoroastrian Litanies. Avestan text with the Pahlavi, Sanskrit, Persian, and Gujarati versions, edited together and translated with notes, by Maneckji Nusservan^i Dhalla, A.M., Ph.D. (Khordah Avesta, Part I.) New York, 1908. Cloth, 8vo, pp. xxii
+ 235,
$1.50 net
The
Pahlavi text, here edited and translated for the first time, is the result of a collation of seventeen manuscripts and forms an addition to the existThe introduction gives an account of the ing fund of Pahlavi literature. MS. material and discusses the relation of the various versions, their characteristics,
and
their value.
Volume 7. The Dasarupa, a treatise on Hindu dramaturgy by Dhanamjaya, now first translated from the Sanskrit, with the text and an introduction and notes, by George C. O. Haas, A.M., Ph.D., sometime Fellow in Indo-Iranian Languages in Columbia University. New York, 1912. Cloth, Svo, pp. xlv
-f-
i6g, $1.50 net
This work, composed at the court of King Munja of Malava quarter of the tenth century, is one of the three most important
in the last
treatises
on
The translation here prethe canons of dramatic composition in India. sented is prefaced by an introduction dealing chiefly with the style and characteristics of the
work and
its
native commentary.
as a special feature, references to parallel passages in
dramaturgic and rhetorical treatises.
The all
notes include,
available
Hindu
3
Volume 8 Vasavadatta, a Sanskrit Romance by Subandhu, translated, with an introduction and notes, by Louis H. Gray, Ph.D. New York, 1913. .
Cloth, 8vo, pp. xiii
+ 214,
$1.50 net
one of the best examples of the artificial and ornate style Besides the translation, the volume contains also the transliterated text of the South Indian recension, which differs to a noteworthy degree from that of Hall, and a bibliography. The relation of the Sanskrit romance to the Occidental, especially the Greek, is discussed in the introduction, and the notes include parallels of incident in modern Indian and other folk-tales, as well as points of resemblance with other Sanskrit romances. This romance
is
in Sanskrit prose.
VOLUMES IN PREPARATION The
Sanskrit
Poems
of
Mayura,
edited with a translation
and notes and an introduction, together with Bana’s Candlsataka and Manatunga’s Bhaktamarastotra, by G. Payn Quackenbos, A.M., Instructor in Latin, College of the City of
New
York.
This volume presents the works of a Sanskrit poet of the seventh cenBesides the Surya^ataka it includes also the Mayurastaka, printed for the first time from the unique birch-bark MS. in the Tubingen University Library. The introduction gives an account of Mayura’s life and works, and the appendixes contain the text and translation of the supposedly rival poems by Bana and Manatunga. tury.
Priyadarsika, a Hindu
Drama
ascribed to King Harsha, and Prakrit by G. K. Nariman and A. V. Williams Jackson, with notes and an introduction by the latter. translated from the Sanskrit
This romantic drama on the adventures of a lost princess was supposedly by Harsha, king of Northern India in the seventh century, and is now to be published for the first time in English translation. Besides giving an account of the life and times of the author, the introduction will deal also with the literary, linguistic, and archaeological aspects of the play. written
:
:
:
4
Yashts, or Hymns of Praise, from the Khordah Avesta Avestan text with the Pahlavi, Sanskrit, Persian, and Gujarati versions, edited together and translated, with notes, by Maneckji Nusservanji Dhalla, A.M., Ph.D. This volume is a continuation of the edition of the Khordah Avesta begun with the Nyaishes in volume 6 of the series and will be uniform with that volume in plan and arrangement.
A
Sanskrit
cises, notes,
The aim
Grammar
for Beginners.
and vocabulary.
of this work
is
a practical one
for the study of the classical Sanskrit in
and
is
With graded
exer-
By A. V. Williams Jackson. ;
it is designed to furnish a book American and English colleges
universities.
The following volume, not in the Indo- Iranian Series Columbia University Press
,
also published by the 4
By A.
Zoroaster, the Prophet of Ancient Iran. liams Jackson. New York, 1899.
V. Wil-
Cloth, 8vo, pp. xxiii -\-314, $3.00 net
This work aims to collect
The
in
one volume
that
all
is
known about
the
and ministry of Zoroaster is told in twelve chapters, and these are followed by appendixes on explanations of Zoroaster’s name, the date of the Prophet, Zoroastrian chronology, Zoroaster’s native place and the scene of his ministry, and classical and other passages mentioning his name. A map and three illustrations ac-
great Iranian prophet.
company
story of the
life
the volume.
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