PRES EIVTING THE MAIVITSC RIPT O. F. Akimushkin MURAQQA'.ALBUM OF THE INDIAN AI\D PERSIANMINIATURES OF THE 16-18TH CENTURIESAND THE MODELS OF THE PERSIAN CALLIGRAPITY OF THE SAME PERIOD Muraqqa' is an interestingand rare in its repertoire col- cordingto the pattern)- spiral of the stylizedflowers of lection of the Indian miniaturesof the Mughal schoolof peony (khatà't) and lotus. Severalmodêls of the calli_ the l7--early l8th centuriesand the Deccan schoolofthe graphicwriting (tr.23a,26a,27a), the miniatures(ff. t7a. 17thcentury as well as of the persianminiatures of the 20a,25a,34a),decoraÍed with thepainted frames in differ_ Isfahanschool of the late l6_l7th centuries. It also con_ ent water-coloursand gold ornament,evidently, were once tainsthe modelsof Persiancalligraphy art. the part of other albumsand afterwards,u,itho;t changing, In spite of the very high value of the wonderfrrl weremountedinÍhis Muraqqa' . miniaturesof the Album - Muraqqa, - and publica_ the Binding: the size is 22.5x36.j cm. Becauseof the tion of 17.of-them, up today its fulI corps práctically was specialway of mountingof Muraqqa,,Íhebinding hasonly unknownboth to the specialistsofthe pèrsian and Indian two protectivecovers (without the backsidecover book miniatureand persian and thê to the studentsof the calliera_ valve). The binding in papier macheis phy The following decorated,on the lines representan attempt to filt top cover, with a water-colourpainting the gap. coatedwith lac_ quer. The centralfield is decoratedwith floral (roses.tu_ The Album was madein the accordion(t1pe de con_ lips, peonies)and plant (large-leafbranches) motifs. sur_ certina) way: only on one side of the sheets ihere were roundedby a fine frameof gildedlines, against a dark red mrniaturesor the modelsof the calligraphy, which were backgroundsprinkled with gold dust.Around its edeeis a by nlirs, four pairedblocks combined (for example, 1n$a largeband embellishedwith a garlandof flowers kíatu.i\ ff. 14-15, 22-23,26-2j,32_33). The sizeof eactrfo_ on a black background.A fine band similar to the inside lio is 22.5X 36.5cm. 45 foliosin all. frame runs all the way around. The back cover of the Decoration:after the mountingof the Album on every binding is made and decoratedin the sameway. In the folio the preliminary marking out was made with thê centerof the cover,on a large leaf, is the signatureof the monochromeframe-lines, determining "Made the bordure lines, master-decorator- by the very humble Muham_ marginsand internal frames, which were to be decorated mad Shaf ibn MubammadMasrtr, tt-44 later. The artist-decorator,evidently, never [ti.3t-1732]'. started his The two insidecovers are madein the sameway: a mono- work, as all thesesheets remained unfinished exceptfolios centralfield (eold colour),framed by a dark gold I and 45 which were decoratedby the :hto.-9 master-detorator. band decoratedwith three white lines. It ii beheveà F. 1a:the marginsof to the thick glue paperagainst the green comefrom Isfahanor, probably,Mashhad. background with the golden ornàmentaf painting- (ac_ Thereis someproblem about the dating of the Album. cording to the conventionalpatteÍn) - styliZed lotus and The bindingdates from lI44/1731_1,/32.It seemsto be peony(khata't) flowers with the figures óf the birds and contemporarywith the Album,scompilation. However, the phoenixin the upperpart of the margins. On the framesof existenceof the Indian miniatures,màde in the second the sheetthere is a brown half bordure stnpe with thin (white of the l8th century showsthat the decoration and green)lines, of the Al_ while the wide frame of the miniatureis bum had not beencompleted. It monochrome. wasfinished about the 60s F. 45:the marginsof the thick glue paperof ofthe 18thcenturv. the rose tint with the golden ornamental p'ainting (ac_ TheMasters of the Brushand ealam The Indian miniatures of two schoolsform a little Deccanschool of the first half of morethan a half the lTth century.The of the Muraqqa, (23 folios from 45): the is representedwith 2l miniatures Mughal schoolof the late l6-early |Aq8^na-t-sclrgol 1tr Z_S, lgth centuriesand the 7, 12,13, 19-21, 25,18, 19,34, 35, 37-39, 41, 44, 45):, 64 Ulonuscripto ()vientclio, voL.I No.3 DECEMBER1ee-{ while the Deccanschool with two miniatures(tr.30-31). 4. Mu'In Musawir - evidently, the most talented 'Abbási. No one of them has a signature,neither original, nor at- and prolifrc pupil of Ridà-yi His works are dated tributive.9 miniatureswere published (tr 3, 4,7, 12,20, backto 1635-l'70'7.He servedunder four representatives 28,30,31, 35), seeT. V. Grek,Indiískie miniatiury 16 of the Safavi dynasty,including the last Sultàn flusa1n 18w. (Moscow,1971), tabls. 9, I0,2'7,'7,5, 45,61,62,6. (r. 1694-1722). There are two miniatures,signed by hinr The Persianminiatures are lessnumerous - thereare inthe Muraqqa'(:tr.9, 16), one more could be attributedto only 14 of them(ff. 1, 6, 8-ll, 16-18, 24-36,40,42, him (f. 40). 'AlI 43). Theseare the works of the Isfahanschool of the late 5. QulI beg Jabbádàr - the famousartist, whose l6-late 17thcenturies. 9 of them are signedby the re- works has a Europeantouch. He worked under the reign markablemasteÍs. Two more miniaturesare beine attrib- of three last Safavides.His works are dated between utedhere. Artists: A.H. 1068 and ll29 (A.D.1657-l7l'7). There is one miniature,belonging to him (f. 1), made in the realistic l. SádiqbegAfshár, who bore the literarypseudonym manner. Sádiql(940-1018/1533-1610) - famousartist, poet, 6. Muhammad Sultánl - the artist, who worked in writer andwarrior. As an artist he servedunder Tahmasp I the European trends of the Isfahan school of the (r.1524-75'76).N the time of 'AbbásI (r. 1587-1629) lTthcentury.Two miniatures(ff. 42,43) ir.the Muraqqa' he wasappointed the headof the Royallibrary, but in 1593 belongto him. Without any doubthe was a contemporal-\' he rvas dismissed.There is one miniatrire undoubtedly of Sultánflusayn (r. 1694-1122). madeby him - "Portrait of TÍm[r Khán Turkmán" (f. 16, Eight Persianminiatures were published(ff. 1, 6, 10. "Scene seepl. I). at the DesolateTavern" also, probably, 11, 16, 17, 42,43), seeO. F. Akimushkin,A. A.Ivanor'. belongsto him. Persidskieminiatiury XIV-WIIw. (Moscow, 1968). 'All-Asghar tabls.75, 70, 64, 63, 7 4,'72,'7'7, 78. 2. Aqá-Ridáb. Káshànl,known as Rrdá- yi 'Abbásl(d.104417635) - an outstandingPersian artist, Calligraphy: in the Muraqqa' there are 8 models who createdthe whole epochin the Iranian art, founderof (tr 14,75,22,23,26,27,32,33) of thecalligraphic writ- (traditional) the Isfahan school of miniature of the ing (7 in nasta'lïq and one in shikasta-yinasta'lïq) in 17thcentury. (ff. Two miniatures 10, 11) and alsoa bril- Persian(7) andin Turkish (1), datedback to the middle of liant realistic "Portrait (f. of a Man' 17, seefront cover), the 16-beginning of the 18thcenturies. All of them were made 'Abd which was by the artist 8 monthsbefore his death, madein lran. Evidently,three mastersof six - al- belong him. to Wahhábal-Husayn1 al-Mashhad1 (f.32), SháhMuhammad 3. Muhammad Yusuf Musawir - evidently,one of Mashhadl (tr 14, 15) and Muhammad Ridá Tabnzr 'Abbásl the pupils of Ridá-yi and his fellows. His minia- (f.22) - wereamong the prominentcalligraphers of their "The ture Shaykh and the Harlot" (f. 6, seepl. 3) was time (in the secondhalf of the l6thcentury) and therr completedby him in 1068/1658. namesare mentioned in the narrativesources. Structure of the Album "Portrait "Portrait Miniature of MÍrzá Jalálá" (see p/. /). Art- Miniature of Lutf Alláh Khán". Mughal 'Ah ist - Quh (-beg Jabbádár). Isfahan school, the 70- school, early 18thc. There is an elucidatoryinscription "Him! "Lutf 80s of the lTth c. Annotated signature: This is the (upwards): Alláh Khán". D 181, f. 5a. Size: 9.7x 'All portrait of MIrzá Jalálá. The old slave, D 181, x 19.5cm. Indian ink, gouache,gold on paper. Qull". "The f. la. Size: 9.1 X 16 cm (hereafter the size of the mlruature Miniature Shaykh and the Harlot". Artist - without a frame is mentioned). Water-colour, gold, silver MubamrnadYlsuf Musalvir. Isfahanschool, A.H. 1068/ on paper. Publ.: Akimushkin, Ivanov, Persidskie mini- A.D. 1658. The miniatureillustrates the quatrain(ruba') 'Umar atiury, 33-34, Íab1.75, De Bagdad à Ispahan (Milan, by Khayyám(4.D. 1040-1123), which is written t994),240. in four coÍnersof the mimature.Annotated signature (in "Zàhir "Hel Miniature al-D1n Bábur on His Throne (?)". the centerup and down)on the miniature: Paintedby Mughal school, 18th c. Presumably the miniature Íepre- the most humbleMuhammad Yusuf Musawir in the sub- sents the founder of the Great Mughal dynasty Záhir al- lime,very pure and holy [city ofl Mashhad,1068". D 181, DIn Bábur, the Timurid (d. 1530). D 181, f.2a. Size: f.6a. Size:ll.3 x 18.2cm. Siyahqalamí,lndian ink, lac- 5.8 x 7,7 cm. Water-colour,gold, gouasheon paper. quer on paper. Publ.: Akimushkin, Ivanov, Persidskie "Portrait Miniature of Jahánglr Keeping Flowers miniatiury,30-31,tabl. 70; De Bagdadà Ispahan,242. "Elephant in His fught Hand". Mughal school, first quarter of Miniature Hunting". Mughal school, late the 17thc. D l8l, f. 3a. Size:6.8 x 12.3cm. Water colour, 17thc.D l8l, f.7a. Size:11.2 x 18.8cm. Water-colour, gold and gouasheon paper. Publ.: Grek, Indiískie mini- Indian ink, silver on paper. Publ.: Grek, Indiískie mini- atiury, tabl. 9. atiury, Íabl. 27. "Small "Scene Miniature Portraits of Five Different Persons Miniature at the DesolateTavern". Artist - and a Bud of Dog-Rose". The miniature consists of six presumably,Sádiq-beg Afshár (attributedhere to). Isfahan fragments made in different time and by different artists.