DOCSLIB.ORG

Research Files, Undated

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Research Files, Undated Research Files, undated Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 3 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Research Files Identifier: Accession 14-179 Date: undated Extent: 2 cu. ft. (2 record storage boxes) Creator:: Freer Gallery of Art and Arthur M. Sackler Gallery. Curatorial - Islamic Near Eastern Art Language: Language of Materials: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 14-179, Freer Gallery of Art and Arthur M. Sackler Gallery. Curatorial - Islamic Near Eastern Art, Research Files Descriptive Entry This accession consists of research files compiled by Marianna Shreve Simpson, Curator, for her book "Persian Poetry, Painting, and Patronage: Illustrations in a Sixteenth-Century Masterpiece" published in 1998. Many of the materials document the history, condition, and conservation of the Freer Jami, an illustrated version of the Haft Awrang in the collections of the Freer Gallery of Art and Arthur M. Sackler Gallery. Materials include photocopies of texts, reprints, notes, citations, correspondence, outlines, and related materials. Names and Subject Terms This collection is indexed in the online catalog of the Smithsonian Institution under the following terms: Subjects: Art museum curators Art museums Art, Asian Islamic art Museums -- Collection management Persian poetry Page 1 of 6 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Types of Materials: Manuscripts Names: Arthur M. Sackler Gallery (Smithsonian Institution) Freer Gallery of Art Simpson, Marianna Shreve, 1949- Preferred Titles: Freer Jami Persian Poetry, Painting, and Patronage: Illustrations in a Sixteenth-Century Masterpiece (Monograph). 1998 Page 2 of 6 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Container Listing Box 1 Box 1 of 2 Freer Jami - Bukhara/Uzbeks Box 1 of 2 Chapter IV - Bukhara Box 1 of 2 Uzbekistan Box 1 of 2 Freer Jami - Painters and Painting Attributes Box 1 of 2 Dorn 408 - Shah-Mahmud Box 1 of 2 Chapter III - Artists Box 1 of 2 Chapter IV - Impact on Freer Jami Box 1 of 2 Signature Formulations Box 1 of 2 Ali Asghar - Text, Oeuvre, and Notes Box 1 of 2 Sultan Muhammad Khandan Box 1 of 2 Sultan Muhammad Khandan - Oeuvre Box 1 of 2 Abdullah Shirazi Box 1 of 2 Rustam Ali - Oeuvre Box 1 of 2 Rustam Ali - Text and Notes Box 1 of 2 Muhibb Ali - Text and Notes Box 1 of 2 Muhibb Ali - Oeuvre Box 1 of 2 Ayshi Ibn Ishrati - Text and Notes Box 1 of 2 Ayshi - Oeuvre Box 1 of 2 Shah Mahmoud al Nishapuri - Notes Box 1 of 2 Malek al Daylami - Oeuvre Box 1 of 2 Malek al Daylami - Notes and Text Box 1 of 2 Dust Muhammad (Bayani) Box 1 of 2 Muzaffar-'Ali Page 3 of 6 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Box 1 of 2 Shaukh Muhammad Box 1 of 2 "Ars Orientalis" - Shaukh Muhammad Article Box 1 of 2 Shah Tahmasp Box 1 of 2 Savory/Shah Tahmasp Box 1 of 2 Sam Mirza Box 1 of 2 Alqas Mirza Box 1 of 2 Khusani Box 1 of 2 Sultan Ibrahim Mirza Box 1 of 2 Sultan Ibrahim Mirza - Secondary Sources Box 1 of 2 Sultan Ibrahim Mirza - Patronage and Collecting Box 1 of 2 Sultan Ibrahim Mirza - Poetry Box 1 of 2 Manuscript plus Assar with Sultan Ibrahim Mirza Box 1 of 2 Encyclopedia Iranica - Sultan Ibrahim Mirza Box 1 of 2 Abu'l Fazl - "A'in Akbari" Box 1 of 2 Abdi Beg - "Takamolat al-Akbar" Box 1 of 2 Afandi, M. Ali - "Menakibi Hunarvaran" Box 1 of 2 Alam ara Shah Isma'il Box 1 of 2 Bildisi - "Sharafnama" Box 1 of 2 Qisa Khan Box 1 of 2 Munshi - "Calligraphers and Artists" Box 1 of 2 Qazi Ahmad Box 1 of 2 Qazi Ahmad/Suhayli Khunsari - "Gulistan" Box 1 of 2 Qazi Ahmad - "Khulasat" Box 1 of 2 Rumlu - "Ahsan al-Tavarikh" Box 1 of 2 Sadiqi Beg Box 2 Page 4 of 6 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Box 2 of 2 Jami - Poet and Poetry (General) Box 2 of 2 Jami - "Haft Awrang" Translations Box 2 of 2 Masnavi Box 2 of 2 Freer Jami - "Naqshbandis" Box 2 of 2 Freer Jami - Chapter II.1 "Silsilat al-Dhahab" Box 2 of 2 Freer Jami - Chapter II.2 "Yusuf and Zulaykha" Box 2 of 2 Freer Jami - Chapter II.3 "Subat al-Abrar" Box 2 of 2 Freer Jami - Chapter II.4 "Salamn and Absal" Box 2 of 2 Freer Jami - Chapter II.5 "Tuhfat al-Ahrar" Box 2 of 2 Freer-Jami - Chapter II.6 "Layli and Majnum" Box 2 of 2 Freer Jami - Chapter II.7 "Khiradnamai-Iskandari" Box 2 of 2 Freer Jami - Notes and "Ars Orientalis" Article Box 2 of 2 Original Collation Box 2 of 2 Freer Jami - Condition Box 2 of 2 Freer Jami - Colophons and Seals Box 2 of 2 Freer Jami - Manuscripts in Scholarly Literature Box 2 of 2 Freer Jami - Chiesa Collection Box 2 of 2 Freer Jami - Attributions Box 2 of 2 Freer Jami - Jami Manuscript "Fihrist" Box 2 of 2 Freer Jami - Map Box 2 of 2 Hamam (Primary Sources) Box 2 of 2 Firearms (Primary Sources) Box 2 of 2 Freer Jami - Safavid History and Art History Box 2 of 2 Safavid Headdress Box 2 of 2 Freer Jami - Safavid Art Box 2 of 2 Safavid Laquerware Page 5 of 6 Research Files http://siarchives.si.edu/collections/siris_arc_367495 Box 2 of 2 Miscellaneous Single Paintings - Jami Box 2 of 2 Freer Jami - Ardabil Box 2 of 2 Safavid Capital Box 2 of 2 Freer Jami - Khorasan Page 6 of 6.
Load more

Recommended publications
  • Studies and Sources in Islamic Art and Architecture
    STUDIES AND SOURCES IN ISLAMIC ART AND ARCHITECTURE SUPPLEMENTS TO MUQARNAS Sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. VOLUME IX PREFACING THE IMAGE THE WRITING OF ART HISTORY IN SIXTEENTH-CENTURY IRAN BY DAVID J. ROXBURGH BRILL LEIDEN • BOSTON • KÖLN 2001 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Roxburgh, David J. Prefacing the image : the writing of art history in sixteenth-century Iran / David J. Roxburgh. p. cm. — (Studies and sources in Islamic art and architecture. Supplements to Muqarnas, ISSN 0921 0326 ; v. 9) Includes bibliographical references and index. ISBN 9004113762 (alk. papier) 1. Art, Safavid—Historiography—Sources. 2. Art, Islamic—Iran– –Historiography—Sources. 3. Art criticism—Iran—History—Sources. I. Title. II. Series. N7283 .R69 2000 701’.18’095509024—dc21 00-062126 CIP Die Deutsche Bibliothek - CIP-Einheitsaufnahme Roxburgh, David J.: Prefacing the image : the writing of art history in sixteenth century Iran / by David J. Roxburgh. – Leiden; Boston; Köln : Brill, 2000 (Studies and sources in Islamic art and architectue; Vol 9) ISBN 90-04-11376-2 ISSN 0921-0326 ISBN 90 04 11376 2 © Copyright 2001 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers MA 01923, USA.
    [Show full text]
  • Universi^ Micn^Lms
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Introduction to the Prefaces 1
    introduction to the prefaces 1 CHAPTER ONE INTRODUCTION TO THE PREFACES A hundred regrets! M§lik, unique in his age, has departed this world. He was a calligrapher, a scholar, a darvÊsh following the right path. He was the Y§qåt of his age; the day when he left this world, Has become the chronogram of his death: “Y§qåt of the century—M§lik.”1 In this poetic chronogram in two couplets the Safavid calligrapher Malik’s achievements and personality are conveyed: he is compared to Yaqut, a thirteenth-century calligrapher who was regarded as the greatest master of the “six scripts” (aql§m al-sitta, shish qalam, khuãåã- i sitta), and the year of his death, 968 (1560–61),2 is conveyed by an artful combination of words, each letter of which is assigned a numerical value, their aggregate totaling 968. The source of the chronogram is unknown. It is recorded in Qazi Ahmad’s Gulist§n-i hunar (Rose Garden of Art, 1596–1606), in its comprehensiveness a behemoth of art historical-biographical writing. Qazi Ahmad’s Gulist§n-i hunar came at the end of a century of art history writing in Iran that had its origins in the late fifteenth century. From then onward, biographical notices of calligraphers, painters, and other practitioners of the arts were inserted into historical works. Biographies of poets mentioned that they were also skilled in calligraphy, depiction, illumination, and bookbinding, but as auxiliary competencies. Technical treatises (ris§la) composed by calligraphers sometimes contained passages that recorded aspects of art history in either prose or poetry.
    [Show full text]
  • History of Azerbaijan in Miniature Painting
    Arts Jamila HASANZADEH Doctor of Arts HISTORY OF AZERBAIJAN IN MINIATURE PAINTING he history of the Azerbaijani Safavid state and its relationship with the Ottoman Empire has always attracted the attention of both domestic and T th foreign historians. The last third of the 16 century is inextricably linked with the war of these two empires. Along with the general fundamental works on the his- tory of these states, which reflect the history of Safav- id-Ottoman relations, there are also illustrations to the works of the chroniclers of the time. The desire of Shah Tahmasib I to establish peace- ful relations with the Ottoman Empire is eloquently attested to by diplomatic missions sent by the Safavid Shah to the court of the Sultan in 1568 and 1576 on the occasion of the accession to the throne of Sultan Selim II and Sultan Murat III respectively. Despite the fact that the Turkish side did not even send an official notification about the accession of Sultan Murat III to the throne, the Safavid court sent on this occasion a very impressive delegation both in composition and in the value of the presented gifts, among which a special place was occupied by more than 50 volumes of rare manuscripts, including a masterpiece in the art of the hand-written book - Shahnameh, which took 20 years to create. According to the materials of “Jawahir ul-akh- bar” by Budaq Munshi Qazvini, it is known that in re- sponse to the insistent requests of his beloved nephew Sultan Ibrahim Mirza to send something else instead of this book, Shah Tahmasib I stated that “peace and quiet are more important for him than a book, which he does not have to read.” “Qiran-us-Sadain”.
    [Show full text]
  • Negotiating Power: Gilan and Its Gradual Incorporation Into the Safavid Polity Nazak Birjandifar Institute of Islamic Studies Mc
    Negotiating Power: Gilan and Its Gradual Incorporation into the Safavid Polity Nazak Birjandifar Institute of Islamic Studies McGill University, Montreal February 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy. © Nazak Birjandifar 2019 CONTENTS ABSTRACT/RÉSUMÉ .....................................................................................................v ACKNOWLEDGEMENTS ............................................................................................ vi A NOTE ON TRANSLITERATION ............................................................................ vii INTRODUCTION .............................................................................................................1 CHAPTER I. Historical Background: Gilan’s Dynastic Rulers ......................................17 Gilan: Geography and People ........................................................17 Gilan: Early Islamic History ..........................................................19 Early Religious Traditions and Political Resistance to the ‘Abbasid Caliphate (r. 132/750-656/1258 .....................................21 The Rise of The Kiyayis ................................................................31 Eradicating the Competition: the Kiyayis and the Isma‘ilis of Deylam ...........................................................................................40 The Kiyayi Dynasty and Their Sunni Neighbors ...........................45 The Kiyayi Style of Rule: General
    [Show full text]
  • Life and Events of Mirza Kamran
    ABSTRACT The topic of my thesis is "A Critical Edition of Diwan-e-Mirza Kamran (Persian text)". By the grace of God, I have been able to present a fresh assessment of his poetry, most notably with the inclusion of many compositions 'discovered' by me in the course of my research. In order to gain insight into his poetry and to know more about him and the important events in life, I began by looking for the manuscripts of his Diwan. I obtained the original manuscript of Diwan-e-Mirza Kamran from Khuda Bakhsh Oriental Public Library, Patna. However while going through it, I realized that it was written during the lifetime of Mirza Kamran. This implied that there might exist poetry that has not been included in it. Consequently I began an extensive search for other copies of the manuscript. My efforts bore fruit when I discovered another copy of the manuscript of Diwan-e-Mirza Kamran, this one preserved at the Raza Public Library, Rampur. Furthermore, I have also discovered compositions made by him that have not been included in either copies of his Diwan. This was with the help of Tazkiras and Beyaz like Mutakhab-ut Tawarikh, Reyaz-ush-Sho'ra, Haft-Iqlim, Safma-e-Khushgo, Makhzan-ul-Gharaib, Subh-e-Gulshan, and most importantly Beyaz-ul-Ash'aar. Now by the grace of the Almighty, I have completed my thesis as best as I could. My thesis is organised into two parts. These are further divided into chapters, which are in turn divided into sub-parts.
    [Show full text]
  • An Annual on the Visual Cultures of the Islamic World
    Muqarnas An Annual on the Visual Cultures of the Islamic World Editor Gülru Necipoğlu Managing Editor Karen A. Leal volume 33 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN | BOSTON 2016 For use by the Author only | © 2016 Koninklijke Brill NV C ONTENTS Géza Dávid, In Memoriam: Győző Gerő (1924–2011) . vii Heba Mostafa, The Early Mosque Revisited: Introduction of the Minbar and Maqṣūra . ............... 1 Diana Isaac Bakhoum, The Foundation of a Tabrizi Workshop in Cairo: A Case Study of Its Influence on the Mosque of Emir Altunbugha al-Maridani . .................................................... 17 Sandra Aube, The Uzun Hasan Mosque in Tabriz: New Perspectives on a Tabrizi Ceramic Tile Workshop . ........................................................................................ 33 Eloïse Brac de la Perrière, Manuscripts in Bihari Calligraphy: Preliminary Remarks on a Little-Known Corpus . ........................................................................................... 63 Keelan Overton, Book Culture, Royal Libraries, and Persianate Painting in Bijapur, circa 1580–1630. 91 Charles Melville, New Light on Shah ʿAbbas and the Construction of Isfahan . ...................... 155 Farshid Emami, Coffeehouses, Urban Spaces, and the Formation of a Public Sphere in Safavid Isfahan 177 Conrad Thake, Envisioning the Orient: The New Muslim Cemetery in Malta . ........................ 221 NOTES AND SOURCES Ünver Rüstem, The Spectacle of Legitimacy: The Dome-Closing Ceremony of the Sultan Ahmed Mosque . ........................................................................................ 253 Mounia Chekhab-Abudaya, Amélie Couvrat Desvergnes, and David J. Roxburgh, Sayyid Yusuf’s 1433 Pilgrimage Scroll (Ziyārātnāma) in the Collection of the Museum of Islamic Art, Doha . 345 Hans Barnard, Sneha Shah, Gregory E. Areshian, and Kym F. Faull, Chemical Insights into the Function of Four Sphero-Conical Vessels from Medieval Dvin, Armenia .
    [Show full text]
  • Position of Water in Ibrahim Mirza's Haft Awrang Miniatures Version*
    Vol.12/No.36/ Dec / Jan (2015/16) Position of Water in Ibrahim Mirza’s Haft Awrang Miniatures Version* Adham Zargham ** Elham Heidari *** Abstract Given the position of water and its symbolic function in ancient beliefs and Islamic sources, the paper aims to explore and analyze the visual effects of the invaluable element in Haft Awrang miniatures by Ibrahim Mirza. In addition to the study of conceptual aspect of water in this set, the existence of diverse layouts in the display of different forms of water provides suitable foundation for conducting a formal study into it. The aim of the paper is to recognize different layouts of water and explore the reasons for the diversity, as well as the conceptual function of water in these works; furthermore, it aims to illustrate how the diversity could made a difference to the suitable structure and composition and also better understanding of Jami’s lyrics. The results of the research, which was conducted in a descriptive- analytical method, indicate that patient artist used certain forms in depicting water based on theme and place of story in order to get across meaning and concept under consideration better and establish a better match between form and content of work, since Haft Awrang paintings substantially depend on the literary text of Haft Awrang. Diversity of water effects in a variety of miniatures at times benefits the general structure of the miniature and works as an influential factor in matching various elements of it; in some instances, how it is positioned and the choice of a good and purposeful position for it in the miniature board could assist artist in communicating meaning and concept.
    [Show full text]
  • The Visual Evidence of the Connection and Association Between Shaykh Muhammed and the Court of Sultan Ibrahim Mirza
    Vol.12/No.36/ Dec / Jan (2015/16) The Visual Evidence of the Connection and Association between Shaykh Muhammed and the Court of Sultan Ibrahim Mirza Hamidreza Rohani* Abstract Shaykh Muhammed (active 1530s-90s), who was Safavid painter and calligrapher left no clear trace of his association with Safavid kings, However, historical evidence having been obtained from reliable sources confirms that an important part of the artistic activities of Shaykh Muhammed served Sultan Ibrahim Mirza - nephew of Shah Tahmasp- (prince governed in Mashhad over a thirteen-year period -962/1554-55 to 970/1562-63 and 973/1565- 66 to 974/1566-67). Qazi Ahmad reports that Shaykh Muhammed worked for the prince in Mashhad, where author and artist undoubtedly knew each other. Iskandar Beg Munshi, on the other hand, states that the artist entered Ibrahim Mirza’s employ in Sabzivar. Munshi Budaqi Qazvini mentions that the artist was with Sultan Ibrahim Mirza only in Khurasan. The recorded oeuvre of Shaykh Muhammed, consisting of several signed tinted drawings, and paintings, supplemented by a large number of attributed works, confirms the artist’s virtuosity and versatility even within the same media. Considering the fact that some attributes of Shaykh Muhammed’s works are attention to reality, separation from literature and treatment of the subjects of routine life, the main question to be answered in this article is: can a trace be found in his signed and attributed works to prove the relationship between him and the patronizing Safavid Sultan? To answer this question, three illustrations attributed to Shaykh Muhammed from the Sultan Ibrahim Mirza’s Haft Awrang (Seven thrones) and commonly known as the Freer Jami and a double page frontispiece in the six Masnavis of Jami (An incomplete Haft Awrang) attributed to Shaykh Muhammed that is kept in the library of Topkapi Sarayi, are presented and analyzed.
    [Show full text]
  • Analysis of Types of Emotion in Paintings of Jami's Haft Awrang in Mashhad Painting School in Safavid Era
    The Turkish Online Journal of Design, Art and Communication TOJDAC April 2017 Special Edition ANALYSIS OF TYPES OF EMOTION IN PAINTINGS OF JAMI'S HAFT AWRANG IN MASHHAD PAINTING SCHOOL IN SAFAVID ERA Mahdi Poor Rezaeian1, Mina Mohammadi2 1Tehran Shahed University 2Corresponding Author, Tehran Shahed University ABSTRACT Art as one of the domains of human activity has been continued since long ago trough being emerged in different roles and definitions. Safavid Dynasty was one of the kingdom courses established by Shah Ismail Safavid in 1501. On 1556, Ibrahim Mirza (nephew of Shah Tahmasp) was appointed for ruling Khorasan. The young prince established a workshop in Mashhad and in addition to artists of Khorasan, employed some professors of Tabriz School. The most important illustrated version arranged in this workshop was Jami's Haft Awrang (Seven Thrones). The illustrations of the said book were implemented by different painters. Accordingly, in this study with the aim of analyzing some paintings of Jami's Haft Awrang, the main purpose is to answer these questions: 1) what are visual features in paintings of Jami's Haft Awrang? 2) In each studied painting, what type of emotion is observable in people in the illustration? Through analyzing the questions, it seems that some paintings have features such as colorful emphasis and various line rhythm and white spots that have given an active and motioning state to the scene and there are various positive and negative emotions in human figures. The data collection in this study is done using library method and the data have been codified using descriptive method and 5 works are used as sample.
    [Show full text]
  • Farrukh Ḥusayn
    BrillOnline.com BrillOnline Reference Works ▶ Home > Middle East and Islamic Studies > Encyclopaedia of Islam > Encyclopaedia of Islam, THREE > Farrukh Ḥusayn Encyclopaedia of Islam, THREE Farrukh Ḥusayn (1,980 words) Farrukh Ḥusayn, also called Farrukh Beg, was a painter active in Iran, Khurāsān, and the Subcontinent between about 988/1580 and 1030/1620–1. His identity is debated, but the current consensus is that one person, known as Farrukh Ḥusayn or Farrukh Beg, worked in five royal contexts: Ṣafavid Khurāsān, the kingdom of Kabul, ʿĀdil Shāhī Bījāpūr, and Mughal India (twice, with interruption). Little is known about Farrukh’s early life in Ṣafavid Iran. Iskandar Beg Munshī’s (d. c.1042/1632) history of the Ṣafavids mentions two painters—Siyāvush, of Georgian origin, and his brother, Farrukh Beg—who became the “trusted companions” (muʿtamidān) of the heir apparent Ḥamza Mīrzā (d. 994/1586) (Soudavar, Between the Safavids and the Mughals, 55). Although no signed work by Farrukh from this period is extant, he has been credited with illustrations in Haft awrang (“Seven thrones”) manuscripts made for Ḥamza Mīrzā and Ibrāhīm Mīrzā (d. 984/1577), governor of Mashhad (Soudavar, Between the Safavids and the Mughals, 56–7; Soudavar, The age of Muhammadi, 65–6). Evidence of the artist’s Kabul period includes two tinted-drawing portraits of Mīrzā Muḥammad Ḥākim (d. 993/1585), younger brother of the Mughal emperor Akbar (r. 963– 1014/1556–1605). One is dated 992/1584–5 and signed “drawn (ḥarrarahu) by the sinful Farrukh Ḥusayn, the painter (muṣavvir)” [Illustration 1]; the other “drawn (rāqamahu) by Farrukh Ḥusayn” (Beach, Farrukh Beg, fig.
    [Show full text]
  • Calligraphers and Painters
    SMITHSONIAN INSTITUTION FREER GALLERY OF ART OCCASIONAL PAPER S VOLUME THREE NUMBER T WO calligrapher;5 AND PAINTERS A TREATISE BY QADI AHMAD, SON OF MIR-MUNSHI (circa AJtf. 1015/A.D. 1606) Translated from the Persian by V. Minorsky with an Introduction by B. N. Zakhoder Translated from the Russian by T. Minorsky Publication 4339 WASHINGTON 1959 FREER GALLERY OF ART OCCASIONAL PAPERS The Freer Gallery of Art Occasional Papers, published from time to time, present material pertaining to the cultures represented in the Freer Collection, prepared by members of the Gallery staff. Articles dealing with objects in the Freer Collection and involving original research in Near Eastern or Far Eastern language sources by scholars not associated with the Gallery may be considered for publication. The Freer Gallery of Art Occasional Papers are not sold by subscription, and the price of each number is determined with reference to the cost of publication. SMITHSONIAN INSTITUTION FREER GALLERY OF ART OCCASIONAL PAPERS OLUME THREE NUMBER TWO CALLIGRAPHERS AND PAINTERS A TREATISE BY QADI AHMAD, SON OF MIR-MUNSHI (circa A.H. 1015/A.D. 1606) Translated from the Persian BY V. MlNORSKY with an Introduction by B. N. Zakhoder Translated from the Russian by T. Minorsky Publication 4339 WASHINGTON 1959 freer Gallery of Art Washington, 0. S, THE LORD BALTIMORE PRESS, INC. BALTIMORE, MD., U. S. A. FOREWORD Based as it is on three manuscripts as well as on earlier work done by Professor B. N. Zakhoder and Mrs. C. Clara Edwards, the importance of this translation cannot be over- estimated.
    [Show full text]