Dost-Muhammad Preface to the Bahram Mirza Album

Dost-Muhammad (fl. 938-72/1531-64) of Gawashwan, a village near Herat, prepared in 951/1544 for Bahram Mirza (1517-1549), brother of the Safavid Shah Tahmasp (r. 1524- 76) and patron of the arts, an album of calligraphic specimens and paintings that is now in Istanbul, Topkapi Sarayi Miizesi (H.2154). In the florid preface he wrote for the album he traces the history of calligraphy, master-pupil relationships in the calligraphic art, the his- tory of painting and painters, and inventories the scribes and artists who were employed in Shah Tahmasp's studio. Dost-Muhammad's "Preface," Qazi Ahmad's Gulistan-i hunar (Garden of art) and Mustafa Ali's Manaqib-i hunarwaran (Virtues of artists) are the main sixteenth-century .sources for the history of the arts of the book.! * The noblest rescript with which the what would be until Doomsday,"? the scribes of the workshop of prayer adorn coalesced forms and dispersed shapes of the album of composition and novelty, the archetypes were hidden in the re- and the most subtle picture with which cesses of the unseen in accordance with the depictors of the gallery of intrinsic the dictum, "I was a hidden treasure." meaning decorate the assemblies of cre- Then, in accordance with the words, "I ativity and invention, is praise of the Cre- wanted to be known, so I created creation ator, by whose pen are scriven sublime in order to be known,"3 he snatched with letters and exalted forms, In accordance the fingers of destiny the veil of non-ex- with the dictum, "The pen dried up with istence from the countenance of being, and with the hand of mercy and the pen, which was "the first thing God created.l'" he painted [them] masterfully on the can- vas of being. [9a] [Praise to] the Maker IQazi Ahmad's Gulistan-i hunar has been who made the totality of human form, translated into English by Minorsky as Cal- which includes the forms and intrinsic ligraphers and Painters, Freer Gallery of Art Occasional Papers (Washington: Smithsonian, 2For the hadith, "Jaffa 'l-qalam ... ," see Ba- 1959); an edition of the Persian text, more recent di'uzzaman Furuzanfarr, Ahiidith al-mathnawi than the translation, is by Ahmad Suhayli- (Tehran: Danishgah, 1334), p. 38 (97). Khwansari (Tehran: zar, 1352); Mustafa Ali, Manaqib-i hunarwaran, ed. in Ottoman Turkish 3The well-known ~adith qudsi, "Kuntu kan- by IbniiI-Emin Mahmud KemaI. Turk Tarih zan makhfiyan... " Encumeni Kulliyati, 9 (Istanbul: Matba'a-i 4A famous "primordial" hadlth, "Awwalu rna Arnica,1926). khalaqa.,"

335 336 OOST-MUHAMMAD meanings of the next world, in the work- the Pure. without [nurturing] shell. by aid shop called "he created Adam in his of the words "I am going to place on the form" on the page of creation in the most earth a vicegerent.t" emerged from the beautiful way, and cleansed from the tab- ocean of nonexistence: "For God Jesus is let of his being the dust of nonexistence like unto Adam: He created him from with the polish of favor; and in the dust and said to him. 'Bel,' and he was." heights indicated by the words. "Assume the characteristics of God." he made the Hail to the Creator who, without assistance, mirror of creation a locus of manifestation clothed being with existence by the command "Be!" for names and traces. [Praise to] the Om- Neither is his destining in need of nipotent who adorned the layers of the machination nor is his depiction dependent heavenly seven. which in inimitability in upon the pen. the manner of seven copies-nay, in or- He quickened thousands of charming forms: ganization and systematization they are neither did he use a magic incantation nor exemplars of Koranic pages-with verses did he mix colors. He clothed each one in a color, a color of of beautiful stars and the tenth and fifth of God's tincture, without hesitation. the sun and moon, and made rulings with He adorned one beautifully with mole and lines of rays. and with the white ink of down: a whole worldful [of people] fell into dawn and the vermilion of sunset placed a error on account of its beauty. prototype of the four tablets on the azure To another he gave a seditious eye that would shed blood with blood-dripping page of the celest. Sometimes [9b] he dagger [eyelashes] makes black pens from the eyelashes of Around the lips of another he drew a novel the houris and draws the tresses of beau- design, by means of which animating down ties on the face of day from the inkpot of souls were pawned. night. and sometimes he makes a pen of For yet another he innovated a fascinating sunrays and moonbeams and draws the stature, casting calamity into the heart from the world above .... shapes of beauties with the blood of If a form is not worthy of astonishment, it lovers on the canvas of loveliness. Praise is not worth a touch of the brush. God! What am I saying? Where the per- Why are you perplexed by this master fect swiftness of 'creation and destiny is. painting when you know that it is necessary what room is there for the depiction of the to amend your conduct? If conduct is not pure and charming in pen or the pen of depiction? Where the essence, what is the use of a beautiful form? workshop of creating bodies and forms [If] in life the form of right conduct has been according to the words. "and our order is lost, what use is there for humankind to but one, like the twinkling of an eye,"5 is have been given a beautiful form? too narrow for the laborers of the upper When a man is ignorant in his being, he and lower worlds. how can there be room cannot be called human simply because of his form. for the design or mixing of water and a God, I am that handful of dust that color? Jesus the Abstract. without the aid previously was void of my form and or help of the pen. was singled out by the conduct. words. "That is Jesus. son of Mary."6 Since you gave me human form first, make and in the shell of being. by the limpidity me share intrinsically in humanity. Especially he who is the final goal of the of the breeze of the words "I breathed world: the final goal of the creative fiat is into him of my breath,"? drank the water he. of life. And the pearl of existence. Adam In form he perfected Joseph's beauty; in conduct he quickens Gabriel's soul.

5Koran 54:50. 6Koran 19:34. 7Koran 15:29, 38:72. 8Koran 2:30. PREFACE TO THE BAHRAM MIRZA ALBUM 337

That perfect human, the outline of whose If Abraham was the honor of the noble-fruited tree was the first form to community, he wore the crown of divine appear from the pure light of existence on friendship because of him. If the building of the Ka 'ba was completed [lOa] the page of being, and whose sap- by [Abraham], [Muhammad] bound the ling was watered by mercy and beauty, pilgrim's garb before it was built. from each twig of which a thousand flowers of saintliness and guidance blos- Seal [of prophets] whose ring of power som, the beautiful one, in witnessing is decorated with the legend, "I was a whose beauty admirers of Joseph's prophet while Adam was between water countenance cry out alas and alack in as- and clay." From the beginning the words tonishment and perplexity. "we have given you Kawthar,' which breathe an aroma of his angelic offspring, By Joseph was much agony created, but this proclaimed the good news of his end. beauty has stirred up a different tumult Divine legislation was completed for the inhabitants of the earth by his holy chil- The chain of his musk-scented locks has dren, love for whom is incumbent upon placed shackles of the Night of Power all who have faith and certainty in the around the sun, and his God-seeing eye way of guidance, through the words, has opened the gates of paradise to his "Say I do not ask you a fee for it except community through intercession: affection in kinship," [lOb] and in ac- The eternal painter who drew that black line, cordance with the true saying, "I leave o Lord, what marvelous shapes are in his among you the people God's book and pen! my family." After paying respects to the Word of The unlettered one who has drawn, with- the omniscient necessarily existent [One], out aid of the pen, a line of abrogation it is an obligation upon each individual in through a thousand books-the unread Islam to take an immaculate handhold one who, without the assistance of pen onto the strong rope of following this and ink, has changed the laws and rules group, respect for whom is necessary, of the past through his legislation of firm especially the prides of humanity, by root and exalted branch. whom I mean the Twelve Imams, for were the hand of destiny to reopen the Through knowledge he changed the precepts gate of prophecy, it would be opened to of religions; through his own action he none other than their prophet-like beauty. made the law. He had no script apparent, but he was favored by instruction from the Preserved Praise God for such a unique group, who Tablet were signs of God's Apostle, However, on his finger he had a [fingernail] Each one a sun at the zenith of justice, each like a pen, sharpened to abrogate religions. one a chapter and section of the book of Yea, his tall stature was the reed that was prophetic inspiration. the first stroke of the pen of fate. o God, so long as the world exists, so long In the garden of majesty, by God's favor, no as the earth is stable and the celest in sapling ever grew more swiftly than he. motion, The world was gladdened by the fruit of his May the world not flourish without their beneficence while yet his palm was far from grace, may it never be void of their the garden of existence. offspring. Had he not been given a prophetic robe of honor, Adam would have had no share of Especially the latest of his pure sons and prophecy. most glorious of his splendid offspring, If the peace of the spirit had not issued from by whom I mean His Majesty of Satur- him, Noah would have remained forever in nian exalted ness, who is attended by the the sea of wailing. 338 DOST-MUHAMMAD celestial spheres, the Sultan son of the necessary to mention in this album the Sultan son of the Sultan, the Khaqan son origin of calligraphy and the masters of of the Khaqan son of the Khaqan, Glory the science of calligraphy who are so of the Sultanate and Caliphate and Right- outstanding in the school "taught by the guidance and this world, Abu'l-Muzaffar pen, taught mankind what he knew not,"? Shah Tahmasp the Safavid the Musavid prefatory remarks shall follow in which the Husaynid (may God eternalize his all that shall be introduced, God granting reign and beneficence) and His Majesty's assistance and success. felicitous brothers and noble children- Know that in the opinion of historians and most especially the pearl of the oyster and biographers of happy output and of the caliphate and justice, the gem of the specialists in the sayings of the Best of casket of magnificence and rule, bouquet Mankind-upon whom be peace-the of the garden of power and good fortune, first person to write, the founder of this blossom ofthe meadow of nobility and magnificent affair and noble occupation, splendor, was Adam, who fashioned a pen and wrote on a tanned hide. After him was A Faridun in majesty, a Jamshid in rank, an Enoch. However, the form of their writ- Alexander in splendor, a Darn in reign, ing, in what manner they wrote, is not known, even though it is well known that the glory of the sultanate, Abu'l-Fath they spoke in the Syriac Hebrew expres- Bahram Mirza (may God cause the days sion. All other prophets and sages also of his power and glory over the heads of established writing systems, but the man- the mighty to last until the Day of ner of reading the same and the purport of Resurrection), who, after perfecting the their words are not apparent and would affairs of rule and perusing histories and take too long to describe. tales, used to spend his time contemplat- Thereafter, Ya'rub ibn Qahtanl" pro- ing the masters' beautiful calligraphic duced the Kufic style from the Ma'qili.l! specimens and rare and precious essays, and he was the inventor of the Kufic and his gaze of favor and kindness was script; nonetheless, it reached perfection ever upon this group until his exalted at the glorious hand of the Prince of the opinion inclined to this, that the scattered Faithful and Imam of the Pious, the Con- folios of past and present masters should quering Lion of God, Ali ibn Abi- Talib. be brought out of the region of dispersal The reed-riding fingers of no creature into the realm of collectedness. In this re- have ever passed through the field of gard the exalted command and sublime writing like the miraculous, cavalier fin- order was issued to this poor slave, mis- gers of that majesty. The distinguishing erable speck of dust, distracted sinner, characteristic of that majesty's script, after Dost-Muhammad the Scribe, that, in its clarity and loveliness, is that at the endeavoring to organize and decorate [the head of the alif as written by him is a split collection], he should cinch the waist of his soul with the belt of servitude. There- fore, in accordance with this exalted 9Koran 96:4-5. command, [11a] lOya 'rub ibn Qa1J~, one of the progenitors of the Arabs. He bound the waist of his soul with the belt 11The Kufic style of writing is named for the of servitude: he girded himself with his soul city of Ktifa in Iraq. It is a "blanket" term ap- as a belt plied to the nonrounded styles of Arabic. Ma'- qill, named after Nahr al-Ma'qil at Basra in in order to arrange an album for His Ex- southern Iraq, is the term sometimes used for the alted Majesty's library. Inasmuch as it is highly geometrically stylized script used in brick work. PREFACE TO THE BAHRAM MIRZA ALBUM 339 in the value of half a dot, and wherever own calligraphy in his name. The per- letters are parallel to each other on the fection of beauty in the script of these six front and back of a page, black is on is so established that the calligraphy of black and white on white. [other] experts in this craft has been ruled There was Kufan script until the time of out, and [their art] is so far beyond de- al-Muqtadir-bi'Ilah.l- at which time Ali scription that it is impossible even to be- ibn Muqla, who is known as Ibn Muqla, gin [to describe it]. saw the Prince of the Faithful Ali in a vi- sion, during which he instructed him in If an intelligent man does not describe the sun, the grace of its light is description the thuluth, muhaqqaq and naskh script, enough. which script was named the "Arabic And if one does not speak in praise of script" .... Ibn Muqla, being al-Muqta- musk, its own scent is a sufficiently dir's vizier, was accused of treason, and eloquent eulogizer. al-Muqtadir ordered two fingers of his right hand cut off with a penknife. [lIb] Their noble names are: (1) Mawlana Thus that tree was deprived of drawing Nasrullah Tabib,16 (2) Shaykhzada Suh- the water of life that rested in the darkest rawardi.l? (3) Khwaja Arghun Kamili.lf recesses of the inkpot. Thereafter he in- (4) Khwaja Mubarakshah Zarin-Qalam.l? structed his offspring, who was a very (5) the excellent Sayyid-Haydar,20 and talented girl, with his left hand. Master (6) Mawlana Yusuf Mashhadi.U Ali ibn Hilal, known as Ibn Bawwab, was his student.P Shaykh Jamaluddin Yaqutl? was in- 16Among the surviving works by Nasrullah structed by Ibn Bawwab in the time of al- Tablb are two specimens dated (1) 729/1328-29, Mustansir-bi 'llah, 15 the last Abbasid Istanbul, TSM, H.2161, fol. 24a and (2) 735/1334-35, Istanbul, TSM, BAll, fol. 106b. caliph, and through his guidance laid He is said to have died ca. 740/1339 (Bayant, down the rules for this script and brought AAK, iv, 1222). down the cryptic regulations of this sci- 17Ahmad b. al-Suhrawardi of Baghdad, ence from heaven to earth. Without the known as Shaykhzada. The earliest surviving least taint of extravagance it may be said specimen of his work is in Istanbul, TSM, that he caused his musk-scented pen to H.231O, fol. 55b dated 702 (1302-3); the latest, skim through the current of scripts in dated 728 (1327-28), is a detached page from a Nahj al-balagha in the Taqwa Collection, such a way that the pen's tongue and the Tehran (Bayanl, AAK, iv, 1025). two-tongued pen are incapable of de- 18The earliest surviving specimen is an album scribing it. page (Istanbul, TSM, H.2156, fol 92a) by The Shaykh had six students known "Arghun b. 'Abdullah" dated 700 (1300-1); the collectively as the SIX MASTERS. To each latest is in the same album (fol. 33b) and is of them he gave license to produce their dated 753 (1352). 19Mubarakshah b. QU!b is said to have executed the epigraphic calligraphy in the shrine 12'Abbasid caliph, ruled 295-320/908-32. of 'Ali b. Abl-Talib in Najaf commissioned by 13"Student" is used in the loosest possible Sultan-Uways Jalayir, A single dated specimen sense and may include a gap of several gener- by him survives in Istanbul, TSM, H.2310, fol. ations. Ibn Muqla died in 940, and Ibn al- 25b, dated 732 (1331-32). Bawwab in 1032. 20Sayyid-l:Iaydar,known as Gunda-niwls ("the 14Known as Yaqut al-Musta'simi. Bayanl majuscule writer''), was the teacher of 'Abdullah (AAK, iv, 1227), in agreement with Ibn al- Sayrafl (Mlr Sayyid-Ahmad in Istanbul, TSM, Fuwatl, places his death in 698/1298-99. The H.2161, fol. 8a). There are no works by the specimen of his calligraphy bearing the latest name Haydar; however, he may be the same as date (695) appears to be an album page in Muhammad b. Haydar al-Husayni, specimens of Istanbul, TSM, H.216O,fol. 82a. whose work are found in Istanbul, TSM, H. 15Ruled 623-40/1226-42. 2160, fol. 29b (dated 717 [1317]), H. 2310, fol. 340 DOST-MUHAMMAD

Mawlana Abdullah Sayrafi,22 whose Shamsuddin Qattabi,24 who inscribed name shines throughout all realms, was himself as Shams Sufi. He [instructed] the student of Sayyid-Haydar, and the the Unique Master of the Age, Mawlana line of tutelage among the calligraphers of Fariduddin Ja'far Tabrizi,25 who, in the Khurasan goes back to Khwaja Abdullah time of his late majesty Baysunghur Mir- Sayrafi. The line of tutelage among the za,26 the son of the late emperor Shah- calligraphers of Iraq goes back to Master rukh Bahadur.s? was held in the greatest Pir- Yahya Sufi,23 a student of Khwaja of respect and, because of his calligraphy, Mubarakshah, who, although he did not acquired indescribable fame. He is, how- have the honor to be his direct pupil dur- ever, even more famous for his nasta'liq ing his lifetime, did practice calligraphy script. during his time. His Highness Baysunghur Mirza, who was greatly inclined to calligraphy and Such is the working of fate: to whom will patronized calligraphers, himself raised . [the lot] now fall? the banner of the pen amidst the fray of calligraphy. Khwaja Abdullah Sayrafi instructed his Moreover, Mawlana Abdullah Tab- nephew Shaykh Muhammad Bandgir, bakh28 studied under Mawlana Faridud- [12a] who instructed Mawlana Sa'duddin din Ja'far and, in truth, the tongue of the Tabrizi, [who instructed] Mawlana pen falls short of doing justice to him. Despite the aforementioned Mawlana's perfect expertise, some were jealous of 97b (dated 717), and BAll, fol. 103b (dated him and pitted themselves against him, 718 [1318]). such as Mawlana Muhammad [b.] Hu- 210f Ytisuf Mashhadi's work there are no ex- sam,29 who is known as Shams Baysun- amples in the Istanbul albums, but he is men- tioned by MU~!aIa 'Ali (Manaqib-i hunarwaran, p, 23), who calls him Mulla Yiisuf Khurasanl, and QaQi Ahmad (Gulistan-i hunar, 22), who 24QaQi Ahmad tGulistan-i hunar, 25) gives says that after serving Yaqut he left Iraq for his name as Shamsuddin Mashriqi Qattab! and Tabrlz and that 'Abdullah Sayrafl studied with makes him a pupil of Mu'Inuddin, a pupil of him. The "Seven Masters Album" (made for l;Iajji Muhammad Bandduz, who was Sayrafi's Baysunghur Mirza and now in Istanbul, Topkapi student and also teacher of Shaykh Muhammad Sarayi Muzesi, H.2310) lists the "seven" as (1) Bandglr, Yaqut, (2) Mubarakshah, (3) Arghun, (4) Ahmad 25pariduddin Ja'far b. 'Ali Tabrlzt was the b. Suhrawardi, (5) 'Abdullah Sayrafl, (6) Pir- supervisor of the library at Herat under Shahrukh Y~ya ~ufi, and (7) Muhammad b. Haydar al- and Baysunghur. His earliest dated work is a Husayni. Many examples by Yaqut and his Dtwan of Hasan Dihlawi dated 820 (Tehran, students are also contained in Istanbul, TSM, Majlis); the latest work bearing his signature is a BAIL Kaltla u Dimna dated 835 (Istanbul, TSM, 22 An active epigraphic and architectural H.362). calligrapher, particularly during the reign of 26Baysunghur Mirza, 799-837/1397-1434. 6ljeitil (1304-17), 'Abdullah b. Mahmud al- 27Shahrukh (779-850/1377-1447), son of Sayrafl ornamented many buildings in and Amir Tlmur, ruled in Khurasan 807-50/1404- around Tabriz. Examples of his work range from 47. an album page dated 710 (1310-11) in Istanbul, 28Shihabuddin 'Abdullah Harawl, known as TSM, BAll, fol. 70b to a Koran in Istanbul, Tabbakh and Ashpaz (cook), whose known TIEM, dated 744 (1343~). works range in date from 833 (Tehran, Sultan al- 23Ya~ya b. Jamal al-~ufi was a pupil of ~- Qurra'I Collection, album page) to 866 (lfif? al- mad al-Rurm and also studied with Mubarakshah ayat, Tehran, Bayani Collection). He also made Zarin-Qalam. His extant works range from 731 the inscriptions at Gazargah in Herat and in the [1330-31] (Bayant, AAK, iv, p. 1233) to 746 Aghacha Mosque in Mashhad. (Istanbul Oniversitesi Kiltilphanesi, P.1422, fol. 29His extant dated works range from 821 53a, executed in Shiraz). (Humay u Humayun by Khwaju Kirmani, PREFACE TO THE BAHRAM MIRZA ALBUM 341 ghuri and is well known as a student of Sa'id's secretary, reached the pinnacle of Mawlana Ma'ruf.30 perfection.V Mawlana Ma'ruf was a contemporary Mawlana Mu'in Isfizari was one of of Mawlana Ja'far and, together with Mawlana Abdul-Hayy's best students, Mawlana Abdullah, was the tutor of the and his calligraphy and composition aforementioned Mawlana Shams, whose [12b] are not unadmired by the great of writing never reached the heights of the age. Mawlana Darwesh Abdullah Mawlana Abdullah's. Mawlana Ma'ruf MunshP3 was his student, and in ta'liq was a student of Mawlana Sa'duddin he surpassed not only his own teacher but Iraqi, who was a student of Pir-Yahya also most practitioners of this script. Sufi. The learned and erudite Khwaja Shi- An Exposition of the Masters of habuddin Abdullah Bayani learned the Nasta'liq basic scripts from Mawlana Abdullah Tabbakh and practiced the ta'liq character The inventor of nasta'liq script was the from Khwaja Tajuddin Salmani. The master "Qiblat al-Kuttab" Khwaja Zahir- pen's tongue is incapable of describing uddin Mir-Ali Tabrizi, and the line of their excellence. discipleship can go no further back than [Abdullah Bayani's] eldest son, the to him.34 most learned and erudite Khwaja Nu- ruddin Muhammad-Mu'min.U who in the basic scripts is today the first of the age and the second of two after that unique one, has been ennobled by the supervision and directorship of the glo- rious library of his royal majesty. 32Sultiin Abii-Sa'id Karagan, ruled in Samar- Khwaja Tajuddin Salmani, who was the qand 855-73/1451-69 and in Herat 863-73/ 1459-69. founder of the ta'liq script and who codi- 33A specimen dated 917 is found in Istanbul, fied its rules, is admired for his skill in TSM, H.2161, fol. 182b. composition. After him Mawlana Abdul- 34Despite his universal fame as the "originator Hayy Munshi, who perfected this craft of nasta'Iiq,' no uncontestable example of Mlr- and was held in great honor and respect 'Ali Tabrtzt's work has been discovered. The as the felicitous emperor Sultan Abu- nearest thing is a collection of mathnawis by Khwaju Kirrnanl (London, BL, Add. 18113) written by one 'Ali b. Ilyas al-Tabnzl al-Bawur- chi in Baghdad in 798/1395-96, which would be approximately the correct time for him, although "the" Mlr-' Ali Tabrtzl is usually called 'Ali b. Hasan. Other attributions to Mlr-' Ali Tabrizi, which are legion, are patent forgeries. It is clear from books produced in western Iran and Vienna, Nationalbibliothek, cod. NF 382) to 833 Baghdad around the tum of the 14th century that (KalUa u Dimna, Istanbul, TSM, R.1022). copyists' manuscript hands were undergoing a 30MawIana Ma'ruf, a calligrapher formerly in significant change from the horizontally based the employ of Iskandar-Sultan in Shiraz, brought naskh to a diagonally biased proto-nasta'ltq. It is to Herat by Shahrukh, See Khwandamir, Habib most unlikely that a Mlr-' Ali, or anybody else, al-siyar, III, 616. A rare specimen of his callig- "invented" nasta'ltq, which should be seen as a raphy, undated, exists in Tehran; see Badri Ata- natural development of scribes and calligraphers bay, Fihrist-i dlwanha-yi khaut-i kitabkhana-i at that time. It was also quite natural for later saltanati, 440. generations to seek out an individual to whom 31Extant dated works range from 924 (Istanbul the invention (wad') could be attributed: an Oniversitesi Kutuphanesi F.1422, fol. 56a) to identical tendency to eponymize was manifested 947 (Istanbul, TSM, H.2151, fol. 8a). in practically every field of human endeavor. 342 OOST-MUHAMMAD

His son Khwaja Abdullah35 was his ever surpass or even vie with him, and pupil; and his calligraphy is of such a de- his glorious name shall endure forever in gree that the cognoscenti of the age can- the annals of the world. not distinguish between his writing and Next, Mawlana Nizamuddin Abdul- that of his father. Mawlana Fariduddin Rahim Khwarazmi,39 known as Mawlana Ja'far was his student in this script. Anisi, wrote a very graceful, clear and Then, Mawlana Kamaluddin Shaykh pleasing character in which no one could Mahmud Zarin-Qalarn'f was a student of challenge him. He was a contemporary of Mawlana Fariduddin Ja'far. Mawlana Mawlana Sultan-Ali Mashhadi. Zahiruddin Azharf? was also Mawlana The excellent Mawlana Sultan-Ali Ja'far's student, but he was a calligrapher Qayinit? was in the service of the late of such a rank that the masters of this art Sultan Ya'qub,41 from whom he received consider his writing better than his mas- much patronage. ter's. . The learned and pious Mawlana Sultan- Mawlana Ja'far Khalifa, who was Muhammad [b.] Nur42 was a pupil of Mawlana Ja'far's eldest son, and Maw- Mawlana Mu'inuddin Wa'iz and was one lana Miraki, a son of Mawlana Zahir- of the outstanding of the age in nasta'liq uddin Azhar, both became calligraphers script, particularly in writing in colors, for and were patronized by sultans. generally color [13a] has not flowed so The pious Hafiz Hajji Muhammad, the nicely from anyone else's pen, and few teacher of Mawlana Sultan-Ali, was a have equaled him for accomplishment and pupil of Mawlana Zahiruddin Azhar, but purity in the profession of scribe. From he also had the honor to be a student of his youth until his sixty-third year, which Mawlana Ja'far, were the years of his life, he was always Mawlana Sultan-Ali,38 along with his devoted and pious. erudition, excellent qualities in poetry and The excellent, beloved Sultan-Muham- the skills of the age and good character, mad Khandarrf was very modest and af- has taken nasta'liq to such an extremity that no one, from beginning to end, can 39Extant dated works range from 864/1459-60 (Tehran, Bayanl Collection, Dlwdn of Hafiz) to . 35Elsewhere called 'Ubaydullah (see Mir 899/1493-94 (Tehran, Bayani Collection, Dlwdn Sayyid-Ahmad's introduction to the Amir Ghayb of Antst). Beg Album, Istanbul TSM H.2161, fol. 8b). 40Extant dated works range from 884/1479-80 There exists a Dtwan of Sultan Ahmad Jalayir (Leningrad, Publichnaya Biblioteka, Dorn 252, dated 809 (Istanbul, TSM H.909) and twice Zubdat al-haqiiyiq of·' Ayn al-Qadat al- signed by 'Ubaydumih b. 'Ali al-Katib al-Sul- Hamadani) to 898/1492-93 (Tehran, Kitab- tanl, khana-i Saltanati, Atabay 80, Diwdn of Jaml). . 36Extant dated works range from 846 (Tehran, 41SulJIin Ya'qiib, Aqqoyunlu sultan, ruled at Imperial Library, Koran) to 871 (Istanbul, TSM, Tabriz 884-96/1479-91. H.2153, fol. 75a, at Sawa). 42Extant dated works range from 912/1506-7 37Extant dated works range from 824/1421 (Vienna, Nationalbibliothek, Mxt. 131, fol. 17a, (Manchester, Rylands Library, Pers. 6, Khusraw specimen) to 957/1550 (London, British Library, u Shirln of Nizaml) to 877/1472-73 (Lahore, Or,4124, fJijdt al-iashiqtn of Hilall). There is Punjab Univ., Khamsa of Nizaml, at Isfahan). also a D iwdn of liisi in the Salar Jung Museum, 38There are dated works signed by SulJIin-'Ali Hyderabad, No. 1553, with a questionable date ranging from 857/1453 to 926/1520. Though it of 896. is not totally without the realm of possibility for 43Extant dated works range from 910/1504-5 a calligrapher to have worked for 69 years, it is (Leningrad, Publichnaya Biblioteka, Dorn 418, extremely unlikely. Many of the later dates either ghazaliyydt of Amir Shaht: possibly also are "licensed signatures" by his students or London, BL, Or. 8760 dated 888) to 935/1528- belong to other Sultan-' Alis, such as the elusive 29 (Leningrad, Publichnaya Biblioteka, Diwiin 'Ali Sabz Mashhadi, or are outright forgeries. of Nawa'l). PREFACE TO THE BAHRAM MIRZA ALBUM 343 fable. He wrote solidly and with gusto Our works point to us: gaze after us at our and was a student of Mawlana Sultan- works. Ali. And praise be to God first and last, in- The late Mawlana Muhammad Abri- shami,44 a pupil of Mawlana Sultan-Ali, wardly and outwardly. became an acknowledged master. An Introduction to the Painters and The rarity of the age, Mawlana Kamal- Limners of the Past uddin Mir Jan, known as Ali al-Husay- ni,45 cannot be described by the pen's It is etched on the minds of the masters tongue or by the two-tongued pen, so no of the arcane that the garden of painting attempt be made. will and illumination is an orchard of perfect Mawlana Muhammad-Qasim [b. Sha- adornment; and the arrangement and em- dishah]46 wrote very gracefully, cleanly bellishment of Korans, which bespeak the and pleasingly. He was a pupil of Maw- glorification of the Word of the Neces- lana Sultan-Muhammad Nur and also re- sarily Exalted, are connected to the pen ceived instruction from Mawlana Sultan- and bound to the design and drawing of Muhammad Khandan. the masters of this noble craft. The eloquent Khwaja Ibrahirrr'? is a It has been recorded that the first person student of Mawlana Muhammad Nur, by to adorn with painting and illumination whom he is highly and excellently re- the writing of the Word that is necessarily garded. He writes a very nice, clean lin~. welcomed was the Prince of the Faithful The lineage of the masters of callig- and Leader of the Pious, the Conquering raphy being beyond ennumeration, the Lion of God ... Ali ibn Abi-Talib, and the prancing steed of the pen will be checked gates of this commodity were ope~ed ~o from crossing that valley. Inasmuch as this group by the key of that majesty s [specimens of] their writin~ ~ill be in- pen. A few leaves (barg), known in t.he cluded in this tome, a description of the parlance of painters as islami,48 were 10- calligraphy and appreciation of the sub- vented by him. tlety of the pen of those who are most If, by the externality of the religious famous in this regard will be held up to law 49 the masters of depictation hang the gaze of connoisseurs and cognoscenti, , . their head in shame, nonetheless what IS and hence they need not be discussed gained from the writings of the great is here. that this craft originated with the prophet Daniel. 44Extant dated works range from 910/1504-5 (Tashkent, Akademia, 6149/5293, Haft awrang It has been related that after the Prophet of Jamt) to 923/1517 (Istanbul, TIEM, 2011, [Muhammad]'s death, some of his companions Mantiq al-tayr of 'A!!liT). went to Byzantium with the purpose of present- 45Extant dated works range from 919/1513-14 ing Islam. In that realm they met an emperor (Istanbul Universitesi Kutuphanesi F: 4?7; named Hercule. After many strange and wonder- of Sa'di) to 950/1543-34 (Pans, Bib- Bustan ful things happened, [the emperor] inquired after liotheque Nationale, Suppl. Pers. 1958~ GUlis!d~ the Prophet and asked of his deeds and acts. of Sa'di) and possibly a Tu1.ifatal:a~rar of J.aml Thereupon he had brought a chest, which he in Dublin, Beatty Library 215 WIth a question- opened. In it there appeared to those present a able date of 955. marvellous portrait that astonished the group. 46Extant dated works range from 924/1518 Since the onlookers were so gratified and pleased (Istanbul, Nuru Osmaniye 3825, Qiran al- sa/ dayn of Amlr Khusraw) to 959/155.2 (Washington, Sackler Gallery S86.0339, calh- graphic specimen). 48/sldmi = islimi. q.v, in Glossary. 47 A single dated work is found in Istanbul, 49In reference to the disapproval of Islamic TSM H.2154, fo1144a, dated 933/1527. law for depiction of animate form. 344 OOST-MUHAMMAD by seeing the portrait, the Companions were death of the Best of Mankind [Muham- asked, "00 you recognize this person?" mad]. Therefore, portraiture is not with- "No," said the Companions, "never have our out justification, and the portraitist's con- eyes feasted upon such beauty, and never has the gate of illumination from the origin of this like- science need not be pricked by the thorn ness opened to us." of despair. "This," said Hercule, "is a portrait of Adam, When the sun of the eelest of prophecy, the Father of Humanity." And thus he continued the fourth of the determinator apostles, to show portraits until he produced one with a Jesus son of Mary, became a neighbor of miraculous visage as luminous as the sun, whose the great luminary [the sun51], Mani be- regal being took Adam from the dust of nonex- istence and garbed him with a cloak of purity. gan to pretend to prophesy and made this The admiration that the former portrait had claim acceptable in the eyes of the people elicited from the onlookers was nullified by the by cloaking it in portraiture. Since the sight of this blessed face, and the perplexity with people expected a miracle of him, he took which they had been struck by the first portrait'S a span of silk, went into a cave and or- beauty ceased with the contemplation of the sun- like beauty of the latter. dered the entrance closed. When one year had passed from the time of his with- You are better than any beautiful form: drawal, he emerged and showed the silk, God fashioned you after his own image. On it he had painted and portrayed the likenesses of humans, animals, trees, When the Companions saw that portrait, tear- birds and various shapes that occur only drops streamed like stars from their eyes, and a longing for the Prophet was reborn in their in the mirror of the mind through the eye hearts, Seeing their sadness, agitation and tears, of imagination and that sit on the page of Hercule sought the reason from them. possibility in the visible world only with "This," they said, "is a portrait of our blessed fantastic shapes. The short-sighted ones Prophet. Where are these portraits from, for we whose turbid hearts could not reflect the know that they conform to the actual counte- light of Islam, duped by his game, took nances of the prophets?" "Adam besought the Divine Court to see the his painted silk, which was known as the prophets among his offspring," said Hercule. Artangi52 Tablet, as their copybook for "Therefore [14a] the Creator of All Things sent a disbelief and refractoriness and, strangest chest containing several thousand compartments, of all, held that silk up as an equal to the in each of which was a piece of silk on which Picture Gallery of China, which is known 'was a portrait of one of the prophets. Inasmuch to contain images of all existing things, as as that chest came as a witness, it was called the Chest of Testimony (sanduq al-shahada). After the poet Shaykh Muslihuddin Sa'di of attaining his desire Adam placed the chest in his Shiraz has said of the two at the begin- treasure house, which was near the setting place ning of the Gulistan: of the sun. Dhu'l-Qamayn50 carried it away and gave it to the prophet Daniel, who copied [the There is hope that one not frown in portraits] with his miraculous brush." boredom, for a garden is not a place of solitude: From that time forward the continuity If adorned by lordly attention, it is a of portraiture has continued beneath the Chinese Gallery and an Artangi Tablet.53 azure dome of the sky, and the likeness that was painted by Daniel was meticu- Mostly these things were done by Mani lously preserved by the ruler of Byzan- in the regions of Iraq, [14b] but thereafter tium in his treasury until the time of the 51Jesus is said to have been assumed to the 50Dhii'r-Qamayn, the Koranic prophet often fourth heaven, which is the sphere of the Sun. identified as Alexander of Macedonia. In the 52or, the more common form, Arzhangl. legend of Dhii'l-Qamayn in the Koran he is said 53Sa'di, Gulistan, in Kulliyyat-i Sa'di, ed. to have reached the "setting place of the sun" Muhammad-All Furiighi (Tehran: Amir Kablr, (maghrib al-shams, Kor. 18:86). 1363), p. 33. PREFACE TO THE BAHRAM MIRZA ALBUM 345 he set out for Cathay and did amazing qalamsiyahi, such that, although Mawla- things there too. na Waliullah was without equal in the Another of the ancients was Shapur, world, when he saw Amir Dawlatyar's who painted the countenance of Chosroes work he justly confessed his inability [to with his magic brush and every day ar- match it]. rayed his lovely pleasure-palace in a dif- One of his students was Master Sham- ferent color, like a damask rose on the suddin, who was trained in the time of stem of acceptability. As there is no fur- Sultan Uways58 and made scenes in a ther room in this work to expound upon square-format Shah nama (qat' -i murab- these two matchless ones, and the details bat) that was written by Khwaja Amir- are mentioned in the Khamsas of several Ali. When Sultan Uways went to his great [poets],54 anyone who desires fur- eternal reward, Master Shamsuddin chose ther details may read and discover them in not to enter anyone else's service; and his verse. student, Khwaja Abdul-Hayy, undertook Then, the custom of portraiture flour- [to provide] him with the necessities of ished so in the lands of Cathay and the life, and the aforementioned master lived Franks until sharp-penned Mercury in [Abdul-Hayy's] house, constantly en- scrivened the rescript of rule in the name joying leisure, and devoted himself to of Sultan Abu-Sa'id Khudaybanda.S> training Khwaja Abdul-Hayy so that the Master Ahmad Musa, who was his fath- Khwaja, in the time of the emperor Sul- er's pupil, lifted the veil from the face of tan-Ahmad of Baghdad,59 whose depiction, and the [style of] depiction that countenance shone in patronizing the is now current was invented by him. masters of learning and perfection, took Among the scenes by him that lighted on up the pen of uniqueness and instructed the page of the world in the time of the Sultan Ahmad in depiction so that the aforementioned emperor, an Abusa'id- sultan himself produced a scene in the nama, a Kalila u Dimna,56 a Mi'rajnama Abusa'idnama in qalamsiyahi. calligraphed by Mawlana Abdullah When the realm-conquering banners of Sayrafi, and a Tarikh-i Chingizi in beau- Timur Ktiragan [15a] cast the ray of the tiful script by an unknown hand were in caliphate in subjugating the realm of the library of the late emperor Sultan- Baghdad, and he made that Abode of Husayn Mirza.57 Peace the residence of the caliphal throne Amir Dawlatyar, a slave (ghulam) of for a few days, Khwaja Abdul-Hayy was Sultan Abu-Sa'id, was ennobled by being taken along with the celestial army to the a pupil of Master Ahmad Musa and was Abode of the Sultanate Samarqand, outstanding in this regard, especially in where he died. After the Khwaja's death all masters imitated his works. 54 Among whom, Nizarnl of Ganja in his Another of Shamsuddin's students was Khusraw u Shirin and Amlr Khusraw of Delhi Master Junayd of Baghdad. in his Shirin u Khusraw. One of Khwaja Abdul-Hayy's out- 55Abfi-Sa'id, Il-Khanid sultan, reigned 717- standing students was Pir Ahmad Bagh- 36/1317-35. shimali, who was unique in his own time, 56This may be the Kalila u Dimna now in and no one could surpass him in this Paris (Bibliotheque Nationale, Cabinet des style. He was fifty years old when he Manuscrits, Sup. Pers. 913 = Blochet Cat. bade farewell to life. #2032) completed in 794/1392 and copied by J:lar~ Ibrahim; it was once in the library of Shah Walad, Ahmad Jalayir's son. See Gray, "Arts," 58Shaykh-Uways I, Jalayirid sultan, ruled at p. 333, No. 543. Baghdad 757-76/1356-74. 57Sulfan-J:lusayn Mirza, Timurid ruler at 59Sulffin Ahmad, Jalayirid sultan, ruled at Herat, 875-912/1470-1506. Baghdad, d. 813/1410. 346 OOST-MUHAMMAD

His Highness Baysunghur Mirza had ber, the door to which he had fastened tight from Master Sidi Ahmad the painter, Khwaja the inside. Since the servants realized how com- Ali the portraitist and Master Qiwamud- passionate the prince was toward him, they did not break down the door but reported the sit- din the bookbinder brought from Tabriz uation to the prince, who, with all clemency and and ordered that after the pleasing manner favor, came to the door of the chamber. Amir of Sultan Ahmad of Baghdad's miscel- Khalil opened the door and fell at the feet of His lany (jung), they should produce a book Highness. The prince kissed him, took him back in exactly the same format and size (qat' into the palace into the assembly and, showering him with favor and compassion, bestowed upon u mastar) and with the same scenes de- him all the silver and china vessels that were in picted. The copying of it was given into use at the assembly, along with robes of honor the charge of Mawlana Fariduddin Ja'far. of which Chosroes and Jamshid would have been The binding was commissioned of the proud. By showing him such generosity, [the aforementioned Master Qiwamuddin, by prince] delivered him of his shame.... whom inlay (munabbatkari) in bindings was invented; and Mir Khalil was put in Before the Baysunghurid miscellany charge of decoration and depiction of was completed, the prince cast off the scenes. ship of life from the shore of living into Amir Khalil was at that time without the sea of death, and his eldest son, Ala- equal or peer in his own line, and the 'uddawla Mirza, ascended the throne of aforementioned prince had showered him patronage and called for the miscellany to with great patronage and day by day so be finished. Gathering that group together increased his favor towards him that he in the library, he gave them generous became an object of jealousy on the part support. At about this time someone was of the high and mighty. One of the sent to Tabriz to bring Khwaja Ghiyath- strange things that happened to this amir uddin Pir-Ahmad Zarkub. When, in obe- is the following: dience to the command, he honored the library with his presence, he ennobled the One night, in the company of His Highness leaves of painting in Herat with the sub- [Baysunghur, Amir Khalil] began to joke, but tlety of his brush and touched up the affair went so far that the heel of his boot (qalamgiri) some places in the scenes of unintentionally hit the prince on the forehead. the miscellany and painted with captivat- _His Highness's forehead was cut, and blood ing colors and finished it off with blood, poured from his august head. When the atten- dants, servants and others present at that mar- sweat and tears. [16a] Amir Khalil velous gathering witnessed this event, the fabric passed over those paradise-like gardens of their patience was ripped and they gathered with the eye of equity and, in giving him around the prince. In the meantime Amir Khalil, his due, declared that he [Amir Khalil] wailing and lamenting, took flight to the cham- would henceforth abandon depiction and ber in the Chihil Sutun [palace] where Mawlana Fariduddin Ja'far wrote, and locked himself in. consider himself exempt from concern Having fled from the valley of boon companion- with it. ship, he sat down in penitence. When the merciful prince saw that the honor of From an old man of wisdom the truth is the sultanate had been spilled onto the ground best: a rational person entertains no doubt and the ashes of misfortune had been smeared whether boastfulness be best. across the forehead of fortune, he commanded When the desired form is manifested from that all entrances and exits to the garden be the invisible world, like a mirror, the surface locked [ISb ] "lest the slightest news reach the of a pure heart is best hearing of my mother." Then he strove to exon- erate Ami!"Khalil and ordered that he be brought Thereafter, His Conquering Highness to him lest the fellow's mind be vexed and he be Ulughbeg Kiiragan invaded Khurasan on worried over his disgrace. Torches and lanterns the steed of agility from Samarqand and, were lit, and all parts of the garden were searched until he was found in the aforementioned cham- in accordance with the destiny of the PREFACETOTHEBAHRAMMIRZAALBUM 347

Omnipotent ("thou givest rule to whom the royal library of His Majesty [16b] the thou willest"), overturned Ala'uddawla Sultan Abu'l-Muzaffar Shah Tahmasp Mirza's banner of fortune and, raising the the Safavid the Musavid the Husaynid Ulughbegid victory banner to the summit Bahadur Khan, by whom he was shown of the heavens in accordance with the great favor and at whose court he bade [verse], "We have given you a clear vic- farewell to life and was buried next to the tory," circumscribed Khurasan with his grave of the great poet Shaykh Kamal in subjugation.s? He took Mawlana Tabriz. The chronogram for his death is Shihabuddin Abdullah, Mawlana Za- "Cast a glance at THEDUSTOF BlHZAD'S hiruddin Azhar and all the others of the GRAVE,"62 which was composed by library under the shadow of Kuraganid Amir Dost Hashimi. bounty and carried them to Samarqand, where he showed them great favor, made A Mention of the Scribes of the Royal them his attendants and, having commis- Library Who Are Renowned for Their sioned them to copy the history of his Calligraphy excellent time, showed them kindness in- creasing from day to day-nay, from First, Mawlana Shah-Mahrnud.O who hour to hour. The pen is incapable of de- with his graceful script (khatt) and scribing the extent of that emperor's beautiful writing has stolen the down patronage and encouragement (khatt) from adolescents' cheeks, and Then there is Amir Ruhullah, known as whose gift for verse is accepted world- Mirak Naqqash, originally from Herat wide, is originally from Nishapur. His and one of the bowmaker sayyids. At calligraphic style was learned from his first he was engaged in memorizing the maternal uncle, the eloquent Mawlana Koran and practicing writing, but after his Abdi Nishapuri,64 and his good qualities father's death he was inclined to be a and pleasing characteristics are beyond copyist. Since he was of the bowmaking description. sayyids, he also practiced that trade. Later Then there is the writer of majuscule he entered the service of Mawlana Wali- and minuscule script, Mawlana Kamal- ullah and took up outlining (tahrir) and uddin Rustam-Ali,65 who is foremost illumination (tadhhib), but he gave that up among modem calligraphers in writing in too and took a fancy to depiction, in colored ink and in proficiency. which craft he became without equal or peer. In the time of the late Sultan- Husayn Mirzas! he was shown favor and, among other things, was given the post of royal librarian. The pupil and son of the aforemen- tioned sayyid, the most excellent of the 62Khiik-i qabr-i Bihziid = 942. .moderns in depiction, pride of the an- 63Shah-Ma~mfidNlshapurt's many known cients in illumination and outlining, the dated works range from 922/1516 (Istanbul, rarity of the age, Master Kamaluddin TSM,H.2156,fol. 63b) to 979/1571-72(Istan- Bihzad, is beyond all description. In this bul,TSM,H.750,Khamsa of Nizaml). album [his work] is much in evidence, 64Hisfew dated works range from 928/1522 (Istanbul,TSM,H.2154,fol. 86b) to 940/1533- and he had the honor of being attached to 34 (Istanbul,TSM, H.2154, fol. 92a); undated worksabound. 60MirzaUlughbegKiirllglln(796-853/1394- 65Albumscontaina fewspecimensof his cal- 1449)occupiedHeratin852/1448. ligraphy,but only one datedspecimenhas been 61Sul~an.l:Iusayn Mirza (842-911/1438- located, Istanbul Universitesi Kuttlphanesi 1506),ruledin Herat872-911/1468-1506. F.1422,fol. 69b, dated945/1538. 348 DOST-MUHAMMAD

Then there is Mawlana Nizamuddin wearing leopard skins:69 it is such that Shaykh-Muhammad,66 who in speed and the lion-hearted of the jungle of depiction power of pen is unequaled in the world. and the leopards and crocodiles of the Next is Mawlana Nuruddin Abdul- workshop of ornamentation quail at the lah,67 a scribe from Shiraz who in beauty fangs of his pen and bend their necks be- of writing and speed of copying is not to fore the awesomeness of his pictures. be excelled. Then there is this humble one, Dost- With the pen of his fingertips, on the tablet Muhammad,68 who like a pen has spent of vision, he has drawn a different version at each and every instant. his life placing the head of devotion on the line of obedience and who has given Next is the sayyid, unique of the age, the writ of servitude over to those who intimate of the royal personnage, Aqa dwell in this angel-protected court. He Jalaluddin Mirak al-Husayni al-Isfahani, has flecked the page of the ground of the likes of whose pictures the brush of service with the gold of his cheek and ornamentation has never painted in the added to the leaves of eulogy a patch of studio of depiction .... unhypocritical praise. Next is the sayyid of immaculate brush, the unique among the nations, Mir Mu- My pen, which has scriven the words of your praise, is renowned in all regions for sawwir .... eulogizing you. These two matchless sayyids in [the Like the pen, I am all tongue in praising service of] the royal library have mixed you. My head is ever on the line of your such colors and painted such faces- command, like the pen. especially in the royal Shahnama and the Khamsa of Nizami70-that if I begin to Since the writers have been mentioned speak of them not only would it take too in every chapter of this introduction, if I long but the pen would also be incapable be so bold as to make mention of the of describing them. Among [the things artists, it may not be out of place. [17a] they did] for the ornamentation of a jamkhana for the sun of the royal celest, The Portraitists and Painters of the the bouquet of the kingly garden, not Royal Library even a whiff of which could be adequate- First is the rarity of the age, Master Nizamuddin Sultan-Muhammad, who has 69The painting referred to is "The Court of developed depiction to such a degree that, Gayumars" in Shah Tahmasp's Shahnama, fol. 20b., reproduced by Stuart Cary Welch, Wonders although it has a thousand eyes, the ce- of the Age: Masterpieces of Early Safavid lestial sphere has not seen his like. Painting, 1501-1576 (Fogg Art Museum, Har- Among his creations depicted in His vard University: 1979), p. 17. All illustrations Majesty's Shahnama is a scene of people from the Tahmasp Shahnama have been repro- duced in Martin B. Dickson and S. C. Welch, The Houghton Shahnameh (Cambridge: Fogg 66Extant dated works range from 970/1562-63 Art Museum, 1981). (Istanbul, TSM, H.2137, fol. 18b) to 976/1568- 70The Khamsa is housed in the British 69 (Istanbul, TSM, H.2151, fol. 39a). Library, Or. 2265. The MS is dated from 67May be identified with 'Abdullah b. Jumada IT946 (1539) to Dhu'l-Hijja 949 (1543) Shaykh-Murshid al-Katib al-Shtrazl, by whom at Tabriz. It was calligraphed by Shah Mahrnud was copied a Kulliyyat of Sa'di in 960/1553 Nishapnrt and contains miniatures signed by (Istanbul, :rSM H.739). Mirza 'Ali, Sultan-Muhammad, Mlr Sayyid- 68Extant dated works range from 938/1531-32 'Ali, Aqa Mirak and Muzaffar-All. When the (Istanbul, TSM, H.2156, fol. 31b, at Herat) to MS passed into the possession of the Mughals 972/1564-65 (Tehran, Sipahsalar, Majiilis al- miniatures were added by Muhammad-Zaman in 'ushshaq). 1086/1675-76. PREFACE TO THE BAHRAM MIRZA ALBUM 349

ly described, they made two siparsl) The Limners of the Sublime Library arched like the infatuating bowed eye- brows of beauties and unrivaled in the First is the illuminator of the pages of gallery of the world. Oh, what a jam- intrinsic meaning, the mine of human khana! Were I to call it a world-revealing perfection, Mirak al-Mudhahhib, who has mirror, it would not be out of place. Its so adorned the chain stitching (zanjira) of mirrors have broken the splendor of the the line of inimitability and the title panel azure celest, and the master who made it (lawha) of expertise that all discerning has shackled the hands of the craftsmen people who have seen his work have of the world. It is a heaven adorned with loosed their tongues in praise. stars, a place decorated with the like- His peerless son, Qiwamuddin Mas'ud, nesses of people. It is a paradise without has made from the rays of shooting stars shortcoming, an Eden resplendent with vined ruling and has created abodes of serving-boys and houris. Its carpets burnished gold in his sunbursts. would dazzle the eyes of the great; its Master Kamaluddin Abdul- Wahhab is a threshold is kissed by the mighty. Like worthy artisan known as Khwaja Kaka. the hearts of the enlightened it gazes with His work is unexcelled among book- the eye of its heart in every direction, and binders,73 and he is second to none as an people of insight are [17b] amazed and intimate companion. astounded by it. ... Then there is widely imitated inventor Then there is the portraitist and poet Mawlana Muhsin the leatherworker, who Mawlana Muhammad known as Qadimi, has stripped the skin off craftsmen and who, knowing that content is more im- bound the sun and moon together with portant than form, has painted and spoken chains of kettle stitching. Although he things as they ought to be. torments the scribes, their hearts are pa- Next is the incomparable line-artist tient with him and their minds are given (tarrah) Master Kamaluddin Husayn the joy by the binding of his love. perfection of whose every band-i rumi Since a mention of those who labor in and ktrma72 is unfathomable to even the the royal library was deemed necessary in most discerning eye and has never been this introduction, I have dared to mention equaled by the painters of China. He has each of them. great prowess in painting. Then there is Master Kamaluddin Ab- So long as the names of Venus and the dul-Ghaffar, whose essence is beyond moon are in the celest, comparison. So long as Mars (Bahram) remains at the apex of the heavens, Then there is Master Hasan-Ali, who is So long as the celest is patehworked by the also second to none. moon and sun, May there be this book of Prince Bahram.

When this album was completed, a crier came forth from the host of angels to give congratulations on this calligraphy, depiction and illumination. 71The MS has sipar (shield); clearly sipihr . For the library of the prince, the moon of (celestial vault) is intended. the zodiac of power, the flower of happiness 72Clearly written in the MS as KTRMH. No and joy, the celestial sphere of perfection, known technical term of painting or illumination Bahram Mirza, unrivalled by anyone approaches this spelling. The configuration of anywhere. consonants suggests the Turkish giitirmii (bring- ing forth, even product), which would not be out of place, but it is unattested elsewhere in such a 73Reading shtraz a'Lan for the text's context. shirazidn. 350 DOST-MUHAMMAD

When the date of completion was sought, I said, "Abu'l-Fath Bahram the JusL''74

74The chronogram (Aba·I·Fat~ Bahram-i 'adil-nihddl) yields 951 (A.D. 1544).