Preface / xi Acknowledgments / xvii Abbreviations / xix

CHAPTER 1. ILLUMINATION / 3 The Illumination and Patronage of Injuid Manuscripts / 3 Early Injuid Illumination / 4 Il-Khanid Illumination /14 Late Injuid Illumination / 19 The Evidence of Injuid and Il-Khanid Metalwork / 30 Issues of Patronage / 34 The Sahih of the Vizier Qutbuddin Sulaymanshah / 47 A Change in Aesthetics: Illuminated Muzaffarid Manuscripts / 48 The Illumination of the Fars Malik Khatun Quran / 48 The Development of the Muzaffarid Style / 52 Manuscripts of the Late and / 55 The Decoration of Contemporary Metalwork / 62 The Impetus for Change / 67 The Blue-and-Gold Floral Style following the Demise of the Muzaffarids / 71 Illumination under the Jalayirids / 80 Iskandar Sultan in and / 82 The Illuminated Manuscripts of Iskandar Sultan / 84 Iskandar Sultan's Role as a Patron of Manuscripts / 95 A Time of Change: From Ibrahim Sultan to the End of Timurid Rule in Shiraz / 105 The Emergence of a New Illumination Style / 106 The Introduction of a New Type of Paper / 117

http://d-nb.info/1023062771 The Illuminations of Ibrahim Sultan and Baysunghur / 118 Changes in the Manuscript Industry: Production and Patronage / 120 Illumination in the Years Following the Demise of Timurid Control of Shiraz / 124

CHAPTER 2. CODICOLOGY / 125 Textblock Format /125 The Standard Format / 125 The Three-Sided Marginal Column Format / 128 The One-Sided Marginal Column Format / 131 Placement of the Textblock on the Folio / 133 The Size and Proportions of Folios and Textblocks / 133 Folio Area /135 Folio and Textblock Proportions: Height to Width Ratios / 139 Paper Production /142 Paper of Laid Construction / 142 Paper of Wove Construction / 144 Flocculency of Paper / 144 Paper Color /145 Paper Thickness /146 Sizing and Burnishing / 149 "Wove-Like" Paper in Manuscripts of the Period 839-48/1435-36 to 1444-45 / 151

CHAPTER 3. ILLUSTRATION / 153 An Overview of Shiraz Styles / 153 The Basic Shirazi Mode of Painting / 153 Injuid Paintings / 162 Muzaffarid-Style Paintings / 164 Paintings of the Early Timurid, Pre-Iskandar Era / 165 Paintings of Iskandar Sultan / 167 Paintings from the Time of Ibrahim Sultan to 1452 / 172 Modes of Illustration / 178 Ettinghausen's Literary Model for the Categorization of Persian Painting / 178 The Case of Ibrahim Sultans Shahnama / 191 The Layout of the Folio: The Integration of Text and Image / 198 The Shahnama Manuscripts of Baysunghur and Ibrahim Sultan / 198 Folio Layout in Other Manuscripts of the Fourteenth and Early Fifteenth Centuries / 208 The Selection of Illustrations / 222

CHAPTER 4. CALLIGRAPHY / 231 The Evolution of Nasta'liq Script / 231 Persian Hanging Scripts / 232 The Distinguishing Traits of Naskh and Nasta'liq / 234 The Method of Analysis / 240 The Corpus of Manuscripts Analyzed / 242 Results of the Script Analysis / 242 Interpretation / 250 Supporting Documentation / 252 An Overview of the Development of Nasta'liq / 254

CHAPTER 5. BOOKBINDING / 255 Construction / 256 Decoration / 258 Binding Decoration in the Fourteenth Century / 258 Binding Decoration in the First Decade of the Fifteenth Century / 265 Shiraz versus : Bindings from the Time of Ibrahim Sultan and Baysunghur / 271 The Tooled Bindings of Shiraz / 273

CHAPTER 6. A CHRONOLOGICAL OVERVIEW / 283 The Origins of the Classical Persian Manuscript: Changes of the Late 1350s and 1360s / 283 The Cultural and Political Milieu of Fourteenth-Century Shiraz / 285 Shiraz as a Center of Innovation / 288 The Period of Change under Iskandar Sultan / 289 The Decade of Change Following the Death of Ibrahim Sultan / 290

Conclusion / 293

Appendixes 1. Textblock Formats / 295 2. Shahnama Translations / 297 3. The Distribution of Text Illustrations in Shahnama Manuscripts / 4. Script Analysis Tables for Individual Manuscripts / 306 5. Manuscripts and Single Folios Cited / 320

Notes / 331 Bibliography / 377 Index/ 389