Abstract
A nearly intact muraqqa‘ (album) dubbed Qit‘at-i Khushkhatt (Specimens
of Fine Penmanship; University of Edinburgh Library, Or. Ms. 373)
preserves a pastiche of mounted pages detached from various Persian
and Arabic manuscripts, two European woodcuts (fols. 22v–23r), and
fragments of a Safavid official document with a tughra (calligraphic
insignia) bearing the names and titles of Shah Tahmasp I (r. 1524–76)
(fols. 30v–31r).1 Also featured are many signed calligraphic specimens
(sing. qita‘; pl. qit‘at) by famed fifteenth- and sixteenth-century Persian
masters, including Mir ‘Ali Haravi (d. 1544–45) (fol. 7v), Malik Daylami
(d. 1561–62) (fols. 23v, 24v), and Shah Mahmud Nishapuri (d. 1564–65)
(fols. 17v–18r; 30r), among others.2 A rare example dated 2 Ramadan
978/February 2, 1571, by Maqsud Tabrizi (fols. 24v–25r) provides a terminus
post quem for the album’s assembly.3 In addition to these large
specimens of calligraphy, 327 smaller fragments in Persian, Arabic, and
Chagatai Turkish are adhered to the surrounding margins in a manner
consistent with late-sixteenth-century Persianate albums.4 Brilliantly
colored abri (marbled paper) margins adorn every page, but the vivid
patterns have elicited skepticism over whether they were part of the
album’s original construction or added later during restoration.5
Aside from praising God, as well as the Prophet Muhammad (d. 632)
and his progeny, the album preface lauds only one other individual,
Muhammad Tahir, whose identity and production will be discussed
below. Inexplicably, it does not name any of the famed masters whose
works are featured within the album. Nor does it mention a compiler,
patron, or place of production. A holistic examination of the codicology,
condition, and content of the album—encompassing its preface, calligraphies,
drawings, and abri margins—is necessary to both authenticate
its construction and determine a context for its production.
of Fine Penmanship; University of Edinburgh Library, Or. Ms. 373)
preserves a pastiche of mounted pages detached from various Persian
and Arabic manuscripts, two European woodcuts (fols. 22v–23r), and
fragments of a Safavid official document with a tughra (calligraphic
insignia) bearing the names and titles of Shah Tahmasp I (r. 1524–76)
(fols. 30v–31r).1 Also featured are many signed calligraphic specimens
(sing. qita‘; pl. qit‘at) by famed fifteenth- and sixteenth-century Persian
masters, including Mir ‘Ali Haravi (d. 1544–45) (fol. 7v), Malik Daylami
(d. 1561–62) (fols. 23v, 24v), and Shah Mahmud Nishapuri (d. 1564–65)
(fols. 17v–18r; 30r), among others.2 A rare example dated 2 Ramadan
978/February 2, 1571, by Maqsud Tabrizi (fols. 24v–25r) provides a terminus
post quem for the album’s assembly.3 In addition to these large
specimens of calligraphy, 327 smaller fragments in Persian, Arabic, and
Chagatai Turkish are adhered to the surrounding margins in a manner
consistent with late-sixteenth-century Persianate albums.4 Brilliantly
colored abri (marbled paper) margins adorn every page, but the vivid
patterns have elicited skepticism over whether they were part of the
album’s original construction or added later during restoration.5
Aside from praising God, as well as the Prophet Muhammad (d. 632)
and his progeny, the album preface lauds only one other individual,
Muhammad Tahir, whose identity and production will be discussed
below. Inexplicably, it does not name any of the famed masters whose
works are featured within the album. Nor does it mention a compiler,
patron, or place of production. A holistic examination of the codicology,
condition, and content of the album—encompassing its preface, calligraphies,
drawings, and abri margins—is necessary to both authenticate
its construction and determine a context for its production.
Original language | English |
---|---|
Title of host publication | Iran and the Deccan |
Subtitle of host publication | Persianate Art, Culture, and Talent in Circulation, 1400–1700 |
Editors | Keelan Overton |
Place of Publication | Bloomington, Indiana |
Publisher | Indiana University Press |
Chapter | 11 |
Pages | 337–365 |
Number of pages | 29 |
ISBN (Electronic) | 9780253048936 |
ISBN (Print) | 9780253048912 |
Publication status | Published - 1 Jun 2020 |
Keywords
- Deccan Sultanates
- Iran
- Islamic Calligraphy
- Album Making
- Paper Marbling
- Marbled Papers