O.F. Akimushkin
THE LIBRARY-ryORKSHOP (KI TÀBKHÀfl,4) OF BÀYSUNGHUR-MInzÀ
TNHBRAT
al-Razzáq b. Isl.ráq al-Samarqandi (1413-1482), who
It is hardly possible in our days to find a scholarly work
marked Éáysunghurlsprofound interest in the art of book
dedicatedio the history of culture' calligraphy, miniature
and applieá arti (combined with really professional attipainting or manuscript production in- general in Iran,
tude), giues no definition to the workshop. He Inentions
Atghanistan,and Mawarannahrof the fifteenth century,not
"masters of book" (calligraphers,ilonlyih-at along with
rnÀtioning about the remarkablelibrary-workshopfounded
luminators, miniaturists, book-binders,etc') there worked
in Herat by the famous grandsonof Ïmur, Ghiyáth al-Din
goldsmiths (zargaran), joiners (naijAr), masters of inlay
Báysunghur-mÍrzá (21 Dhu'l-hijja 799-7 Jumádá I
í ork (khatambindan) and mosaic (kashítar ashar), specialr 4 3 3 )[ 1 ] '
S 3 i / 1 5 S e p t e m b e1r 3 9 7 - 2 0 D e c e m b e 1
ists in chasing, engraving and other kinds of metalwork
There is no doubt that the kimbkhana already funcauthors of special
QaddAcfi)[8]. It is only natural that the
tioned at the coutl of Báysunghur-mtrzáby 82311420,be'
afi regarded
book
and
calligraphy
of
art
itt.
on
tËatises
causecalligrapherKamál al-Din Ja'far Tabrizi and miniamembersof
the
as
some of the craftsmenof the kitabkhana
turist Khwája Ghiyáth al-Din Naqqásh[2] already worked
had already
tradition
the
the elite, especiallythose whom
there at thát time. That, however' was the year when
rvith an
names
their
surrounding
made modelsfor imitation,
Báysunghur-mirzábrought from TabrTzto Herat several
closely
so
was
reality
where
legends
wonderful
of
aura
alrnasters-ofmanuscripts.Among them Dust-Muhammad
just impossibleto sepa'Ali Musawwir
is
it
often
that
fantasy
with
mixed
Kátib namesSÍdi Ahmad Naqqàsh,I(hwája
rate them.
and ustad Qawám al-Din Mujallid Tabrizl [3], i' e' an ilkind of craftsThe evidenceof the sourcesas to what'Abd
bewas
the
That
luminator, a painter and a book-binder.
al-Razzáq
different.
ts
kitabkhana
men worked inthe
ginning of the most brilliant period in the.historyof the lial-Din
Mawláná
calligraphers:
lahtr
several
names
Érary-workshopassemblingwithin its walls the best masal-Din
Mawláná
Tabrizi,
Ja'far
?ahir
Mawláná
al-Harawi,
ters of book art, who created unique illuminated manu'Abdalláh and Mawláná
al-Din
Shiháb
Mawláná
Azhar,
Ráysunghur-mirzá
scriptsfor their patron. The point is that
Jaial al-Oin Shaykh Mahmud, one illuminaÍor (naqqash)
created Íhe kitàbkhana exclusively for his private use, to
Sayf al-Din Wahidi, and one miniaturist (naqqash)Ghiyáth
his personaldemands.
satisf,v
al-Din of whom we sPokeabove[9]'
Like a magnet the workshop attracted gifted artists
DawlatsháhnamesJa'far Tabrizi, titling him saràmad'i
of
centre
Íiom all over the Middle East. It became a real
("the leader of calligraphers"),and artist Mawláná
kuttab
reon
manuscripts
book production, making illuminated
"the secondMani"
[10]' At the
Khalil Musawwir,who was
quest. Moreover, it had soon developed into a centre
masters
forty
were
there
words,
his
to
according
sametime,
of arts and crafts.F. Martin, a Swedishdiplomat and one of
kitabkhana.
the
in
working
manuscript
the pioneersin the field of medieval Persian
"Ïhe Báysunghur
Ouit-Muhammad al-Kátib confirms the evidence of
studl'. even surnamed the kitàbkhàna
'Abd al-Razzáqand Dawlatsháh,adding to their lists 'Ali
.\cademy" (1912). This name was acceptedand became
Musawwir (an artist), illuminator Sidi Ahmad and bookpopularboth in Europeanand in RussianscholarlyliterabinderQawámal-Din Tabrizi [11].
not
'AlÍ
iLrre.Although it soundsattractiveand striking' it is
tn iSgZ Turkish writer, historianand biographer
quite correct.
Chelebi Efendi in his work Manaqib-i hunar\t'(lran("Lives
Dau latsháh Samarqandi calls the workshop kilAbof the Men of Art") named twenty five persons who
klt,lntt[4f . It was a'library of Oriental type along with a
worked ín the kitàbkhanaof Báysunghur.The list is full of
,rorkshop(atelier)where, underthe supervisionof a manobvious errors.lt containsthe names of five artistsnot yet
of manuscript
.*.,.,.'.nt-di..ctor kitabdar, masterpieces
bom at the time when the kitàbkhana already functioned'
.,i u.r. speciallycreatedfor the patron. Ghiyáth al-Din
Besides that, there are names of the men of letters and
Khriándarnir[5], Dlst-Muhammadal-Harawi[6] and Abn
nadtms from Báysunghur'sclosest retinue, such as Amir
\rsr Sanr-m1tza[1)define it in the same way in their
perAq-Malik Sháhi Sabzawári(d. 1453), Muhamn,ad Kátibi
\\r)rks - in the ,(ltrró,thanaÍhey saw only an atelier
Tuishizi (d. 1436), Yalyá Sibak NishábÍri (d. 1448), and
time
the
same
above'At
ï'rrrntingthe tunctionsenutnerated
o t h e r s[ 1 2 ] .
, istorian'Abd
a i u n i À r c o n t e m p o r a r vo f B á y s u n g h u r h
O. .\KIIIUSHKIN.
TheLíbrary-íItorlcshop(kitAbkhana)of Boysunghur-Mirzain Herat
The evidencementionedabove (but for the list of 'Àli
- irelebi Efendi, which we do not take into accountas evii:-nllv incorrect) allows to suggestthat the kitabkhana of
it:rsunghur was not just an atelierproducingilluminated
-.r)ks. It looks more like a network of royal workshops
,:ecialising in different arts and crafts(karkhana, buyutat)
:::rploving a considerablenumber of highly qualified spe::rlists. Today, 563 years after the death of its founder,we
::e fortunateto be able to gain insight into the life of the
,.:rihkhana. This opportunity is provided by a unique
-rtrcrln€rlthaving survived from that time [l3]. It is a kind
:: official report (something like modern formal account),
.
.;rcladasht,submittedto Báysunghurby the director of the
''rorkshops(in the text they are called kitdbkhana), most
:robably by Kamál al-Din Ja'far BàysunghurlTabrlzt, ap::rr\imately between the end of 1427 and the beginning
:: l'131. This document was discoveredby Prof. Zeki
i':ledi To[an in Jung-i Ya'qubí (its other name is "Fátih
.\ibum") in the Topkapr Sarayr MUzesi (Istanbul,
\ Í S H . 2 1 5 3 , f o l . 9 8 a ) . H e r e p o r t e do f h i s f i n d i n 1 9 4 8 .
1)\ er a quarterof a century had passed,however,beforethe
:-rcumentwas publishedin Turkey [4].
The contentsof the documentleavesno doubtsthat the
t.:tJbkhàna,by the standardsof that time, was a grand en:.'rprise.It was organisedon a scaleworthy of fimÍr him).1i. the grandfatherof its founder and creator. People of
::rlerent professionsconnectedwith arts, artistic crafts and
::chitecture worked there. In this respectthe information
'Abd al-Ptazzàqis
::orided by
correct. At presentwe are
:oncernedmainly with those masterswhose professions
'.iere connectedwith the production of illuminated manu:;ripts, since a detailedanalysisof the whole document
:oÈsbeyondthe framesof this article.
So, the director-managerof the kitabkhana(that person
;ould only be Ja'far Báysunghurl, because, as stated
.: all sources, it was he who held this office under
3á1sunghur-mirzá)reports on the work done by all craftsnen of the kitqbkhana(who and how is occupiedwith what
*ind of work) towards the day when the document was
',iritten. He enumerates25 rnembersof the staff, including
:imself and gives a brief accountof their work on manu';ripts. The following mastersof "book craft" are men::oned:
L Five calligraphers Mawláná Shams, Mawláná
,Julb, Mawláná Sa'd al-Drn, Mawláná Muhammad-i
\Íutahhar and the author of the "Report" ('ardadasht).
Since these people are well-known, their names can be
casilyidentified.
2. Two artists- Amir l(halil and Khwája Ghiyáth al)in Naqqásh.Their names also present no difficulties.
\Íore problemsarise with the identifying of other masters
:i rhekitabkhana.
3. Thirteen illuminators and decoratorsof manuscripts
tt,t74àsh, nudhahhib, jadwalkash) Mawláná 'All,
'Atá,
\Íarvláná ShihAb, Mallm[d, Klwàja
tlájji, Khatáy,
Abd al-Salám,ustad Sayf al-Din, Khwája Mir Hasan,Mir
:hams al-Din b. Khwája Mrr Hasan, Mawlàná Shams,
:it tud D awlat-khwája, Khwája' Atáy Jadwalkash.
4. Three book-binders(ntujallict)- Mawlàná Qawám
rl-DIn, Hájji Mahmud and Khwája Mahmld.
5. Two artists working on patterns (tarrah) - Khwája
Abd al-Rahim and Mir Dawlatvár. These artists were de-
t5
veloping pattems further applied to objects of different
materials(leather,textiles,carpets,faience,tiles, etc.)
Speakingabout the books which at that time were "in
work", the author mentions nine manuscripts and names
those masters working on them: five calligraphers,three
binders.two artists.one decoratorof coloured bands framing the text and five illuminators, all together sixteen persons.Thesemanuscriptsare the following:
l.Gulistan by Sa'di. Artists Amir Khalil and
Khwája Ghiyáth al-Din, illuminators - Mawláná Shiháb
'Atá.
and Khwája
2. Shah-nqmaby Firdawsi. Calligrapher- the author
"Report"
of the
Ja'far al-Báysunghuri, illuminator Mawlánà 'Ali, decorator of coloured frames - Khwája
'Atáy,
binder- Mawláná Qawám al-Din.
3. Rasà'il. Calligrapher- Mawláná Shams, artist Khwája Ghiyáth al-Din, binder- Hájji Mahmld.
4. Rasa'il-i khatt-i Khv,aja. Binder - Khwája Mahmld.
5. Dïwdn-i Khwdju [-yi Kirmoní]. Illuminators - Mahmld and Mawláná Shams,decoratorof frames - Khwàja
'Atáv.
6. Taríkh f-i Jahangusha-yi JuwaynÍ1. Calligrapher MawlánáSa'd al-Drn,illuminator- I(hwája 'Atá, decorator of frames- Khwája 'Atáy.
7 . Taríkh-i Tabarï. Calligrapher- Mawláná Qutb.
8. Shah-nàma by Firdawsi. Calligrapher - Mawláná
M u h a m m a d -M
i utahhar.
9. Nuzhqt al-arwaly [by Mir Fakhr al-Sádát].Calligrapher - the authorofthe "Report" Ja'far al-Bàysunghuri.
Besidesthat two accomplishedalbums of verse (kishtt)
are mentioned, on which had worked correspondinglyilluminators Mawláná Shams and 'Abd al-Salám, while illuminators Hájji and Khatáy still worked on two other
similar albums.
As far as it is known, 19 manuscriptsfrom the library
ofBáysunghur have survived to the presentday. On fol. la
they bearshamsa-exlibris:"ba rasm-i khazanatal-kutub (or
kitabkhàna) al-Sultan al-a' 4am al-a' dal al-akrant Gh iyath
al-saltanatwa'l-Dïn BdysunghurBahadur kh(tn ...". Of this
numbertwo manuscriptswere sentto Báysunghuras a gift,
they have nothing to do with his workshop [5], but the
other seventeenwere executedin his atelier.The first list of
the survived manuscriptswas made by a well-known British expert in PersianminiaturesB. Robinson[16]. It enumerates l2 manuscripts (including the two mentioned
above),the other sevenwere identified by the author of this
article.Thesemanuscriptsare the following:
l.Taj al-md'athir by $adr al-Din Mullammad alNisháblri (Library of the Oriental faculty of the St. Petersburg University, No. 578), calligrapher- Qutb al-Din b.
Hasan-shàh
al-Kirmáni,25 Shawwál 829131August 1426
(fol.289b). Fol. 1a - shamsq-exlibriswith the name of
Báysunghur-mirzá.
2. Tarjuma-yi taríkh-i Tabarí by Bal'ami (St. Petersburg, the National Library of Russia, PNS 49), calligrapher Qutb al-Din b. Hasan-shàh al-Kirmánl, Herat,
2 0 J u m á d áI I 8 3 3 / 1 6M a r c h 1 4 3 0 ( f o l . 4 9 7 a ) . F o l . l a shamsa-exlibriswith the name of Báysunghur-mirzá.
3. Shàh-nama by Firdawsi (Tehran, Malik Library,
No.6531), calligrapher Mulrammad tb.l Mutahhar
Nïshábfiri, Herat, Sha'bán 833/May 1430 (fol. 438b).
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The Library-Workshop (kilàbkhana) of Baysunghur-Mírzain Heral
2l
U$onuscr ipto
:
l.r -- :lturttsu-exlibris
with the name of Báysunghur-
:t . :l'zli.
'[,1rtklt-i
J
Juhcrngushàby Juwayni (St. Petersburg,the
\ . r i i r u l l L i b r a r l 'o f R u s s i aP, N S 2 3 3 ) ,c a l l i g r a p h e- r S a ' d
.ri-l)ln] al-Mashhadi,Herat,the lateRabi' I 834iDecernber
i - : . )( 1 b 12. 7 9 a ) .F o l . l a - s h a m s a - e x l i b rwi si t h t h e n a m e
. ,i ' L l á rs u n g h u r - n l r z á .
5. Ttlríkh-i IsfuhAn by Harrza b. al-Hasanal-Isfaháni
' l . o n d o n . t h e B r i t i s h L i b r a r y , ,O r . 2 7 7 3 ) , c a l l i g r a p h e-r
.lrr'tarBá,vsunghuri.
the late Sha'bán834learly May 1431.
IrLrl.ra - shamsa-exlibris
with the narneof Báysunghurir Írzá.
6. Kalila wa Ditnna by Ab['l-Ma'áli Nasralláh
i l s t a n b u lT
, o p k a p rS a r a y rM U z e s i H
, . 3 6 2 ) , c a l l i g r a p h e- r
I . r ' t a r . H e r a t , 8 3 4 /1 4 3 0 - 3 1 ( f o l . l 7 2 a ) . F o l . l a
' /rrlir.s'a-ex
Ii bri s w itir the n ame of Báysunghur -m\rzá.
7. itla.jnta'al-tav,artkh by Háfi2-i Abr[ (St. Petersburg,
the National Library of Russia,Dorn 268). Only the first
t\\o parts (rukn) of the work. Fol. la - shamsa-exlibris
ri ith the narneof Báysunghur-mrrzá.
"in
It is amazingthat of the nine rnanuscripts
work",
nrentionedin the "Report" by their titles,at leastfive have
sLrrvived
T .h e s ea r e :
1. Gulístanby Sa'dr (Dublin, ChesterBeatty Library,
No. I l9), calligrapherJa'Íar al-Báysunghun,Herat,
83011427. Fol. la 5h61117r..t-sxlibris
with the name of
Bávsunghur-mrrzá.
2. Shah-nama by Firdawsi (Tehran, SaltanatiLibrary,
N o . 7 1 6 ) ,c a l l i g r a p h e- r J a ' f a ra l - B á y s u n g h u r5i ,J u m á d áI
3 3 3 / 3 0J a n u a r y 1 4 3 0 ( f o l . 3 5 0 b ) . F o l . 1 a shamsaexlibris with the name of Báysunghur-mlrzá.
lt is mentioned in the colophonthat the copy was made by his ord e r[ 17 ] .
3 5. TArrkh-iTubarí, Tàríkh-í,Iahangusha-yiJuwayní
and Shah-nanta by Firdalvsi were rnentionedabove (see
N o s . 2 , 4 ,3 c o r r e s p o n d i n g [l y1 )8 ] .
The death of Báysunghur-rnrrzáwas taken by the masters of the kitabkhánaas their private loss.Some of them,
iointly rvith their patron'snachmsand men of lettersbelonging to the narrow circle of his confidants,composed
l collection of rnourning elegies conventionallytitled
(Tebriz, Milli Library, No. 2967).
Bá.t'.sunghur-nama
It w'as copied by the famous Zahir al-DÍn Azhar in
317'1l434(tankh in the colophon,fol. 26b, written by one
\ l a r r l á n á M u h a m m a d ) ,F o l . l a - s h a m s a - e x l i b r iw
sith
thc narne of Rukn al-Din 'Alá al-Dawla, the son of
t 3 a y s u n g h[u1r9 ] .
After the death of Báysunghur-mirzá
the whole work:hop passedinto the handsof his elder son and successor
'.-\láal-Dawla
[20]. After the turmoils causedby the death
o1-SIrálrrukh
in 850/ 1447the atelierparlly suffereddisintegration.partly rvastransferredto Samarqandby Ulughbeknrirza.After his death in 853/1449 iÍ finally ceasedto exr.t llll
Most of the craftsmen left Mawarannahrand
:lrr\ed to Iran or to Herat (like calligraphersAzhar and
I.rbbikh; [22]. SLrchrvas the end of that rvonderfulcom:rLrnitr of nrasters.creatorsof the masterpieces
of manu-;ript art. \\'e still adntiretheir works, of which the peoples
:r,,* inhabitingthat whole regioncan be duly proud.Origi' r . r l l rb e i n u
. i u s tr n a r t i f i c i a lu n i o no f r e p r e s e n t a t i voefsd i f t r r c n t l r a n i a ns c h o o l so f c a l l i g r a p h ya n d m i n i a t u r ep a i n t ; n g .t h e k i t t l h k h A n u
d e v e l o p e di n t h e c o u r s eo f t h e i rj o i n t
C) r ientnlio.
vot- .3No.I M AR C H
1ee7
work a specialschoolof pre-Bihzadpainting in Herat and
laid the foundationof the Khurásántraditionin calligraphy.
The flourishing art of illuminated manuscripts,which
we find in Herat half a century later, at the end of the
fifteenth-early sixteenthcentury, was basing upon this
tradition.
Taking into accountmost preciousinformationon the
work of Báysunghur'satelier, which the "Report" comprises,it would be worlhy to pay specialattentionto this
docurnent.The questionarisesif there were the namesof
tlre senderand the receiver in the text of the 'ardadasht?
What imrnediately attracts attention when one carefully
studies the document, first published in Íacsimile by
T. Lentz and M. Lowry alongwith its formal description,is
its unusualsize- 46 cm (by the verlical axis) and the absenceofóasrnalaat the beginningofthe "Report". The last
one is most unusual.It could be explained,of course,by its
upperedgebecomingso worn out in the courseof tirnethat
they had to trim it neatly.For this reasonthe first lines of
"Repor1"
the
happento be written very close to the upper
edgeof the docurnent.
In our opinion, it is obvious that the docurnentmust
havecomprisedthe namesof the senderand the receiver,as
well as basmala.There were strict rules of conductingofficial correspondence
at that time. The sender,well aware
ofall particularsoftheserules,could not evendareto think
about any frivolity when addressinga person of a high
rank, even if he belongedto the closestretinue of his patron. Besides,beforethe middle of the fifteenthcenturythe
following expeditingpracticer.vaswidely employedin the
east of the Iranian world: the final copy of an ofÍlcial
documentwas, staftingfrom its end, wrappedinto a scroll
(tumar),so that the outer edgeof the scroll coincidedwith
the beginningof the documentitself. On the other side of
this edgethey indicatedthe namesof the one, to whom it
was addressed,and of the sender.Sometimeseven the
name of the messenger-courier
was r.vritten,if the contents
o f t h e d o c u m e nw
t a s o f s p e c i ailm p o r l a n c eT. h e n t h e s c r o l l
was placed in a specialwooden caseu'ith a hinged cover
('ardchuba),which was neatly tied rvith a ribbon, usually
up to nine circuits,its ends fastenedrvith a wax or wafer
seal.AÍïer that it was entrustedto the rnessenger
to be delivered[24].
In caseof our document.the absenceoÍ basntalaand
the arrangenrent
of the text closeto the upper edge makes
one think that initially it rvaswritten on a longer sheetof
paper.It is known that the higherwas the statusof the receiver,the longerwas the scroll chosento write to such a
person- it was an established
sign of respecttowardshis
"Repoft" was
high position. The
rnost probably written
on a sheet of paper one canonical cubit long
(dhar' :49.875 cm), thoulh at presentits length is 46 cm.
If this suggestionis correct,it meansthat almost 4 cm of
the docurrentare missing,whencethe absenceof basntala
at the beginning of the document and of the narnesof the
addressee
and the senderon its other side, written by its
upper edge. One should bear in mind that this parl
contained a sample of handwriting and the signature
of the famous calligrapher Ja'far al-Báysunghun,
therefore it could be cut to be set into a qit'a for some
collector or connoisseurof calligraphy.The qit'a could
also cometo somealbum where it oossiblvremainstill the
oresentdav.
O. AKIMUSHKIN.
The Library-Il/orkshop (kitabkhàna) of paysunghur-Mïrza in Herat
23
Notes
L For more inlbrmationon this enlightenedand giÍïed fimurid see my article "Baisungur-rnirza
i ego rol' v kul'turnoÍ i politicheskoi zhizni KhorasanskogosultanataTirnuridov v pcrvoi treti XV veka" ("8a1.'sunghur-mirzà
and his role in the cultural and political
l i f e o f t h e K h o r a s a n s u l t a n a t e o f t h e T i r n h r i d s i n t h e f i r s t t h i r d o f t h e f i f t e e n t h c e n t u r vP" e
) .t e r b u r g s k o e v o s Í o k o v e d e n i e . Í a s c . 5 ( 1 9 9 1 ) ,
pp. 143-68. with bibliographv.
2. CalligrapherJa'far Tabrizi appcarcdin Llerateven earlicr:hc camc to thc court Íiom Shirazthrough Yazd. On l6 Dhrl'l-Qa'da
822/ 4 December | 4 I 9 Ghiyath al-Din Nac1c1ásh,
as a representativeof Báysunghur-nrirzá.leÍt Herat as a member of the ernbassl,sent b1'
Sháhrukh(d. on 25 Dhn'l-H ii.ja850/ I 3 March I 447) to the courtof China. I le rvasorclcrcdto keepa cliaryof the rvhole.lournevrecording
(rukn 4) b1'historianI[áÍiz-i
everythingworthy of attention.This diary is knolvn in tr.voversions.The tlrst is cited in ilíajma' ul-tuv,tirïklt
Abr[, seeK. M. Maitra. Tlrc Persían Embassltto China (L,ahorc.1934),tcxt and E,nglishtranslation:see also Zubdat al-tav,àrrkh.'fàlif-i
IláÍiz-i Abr[. ba tashih-isayyidl(amál-i Hnj.jsayyidJalvádi(Tihrán, 137211993),
ii. pp.792-3. ft l7-65. In the last editionthe dateof
'Abd
the departureof the embassy- 6 Dhli'l-Qa'cla822.The secondversionis given by
al-RazzàqSanrarclancl
in his ,'1lrrllo'
ttl-su'dq'n.
'l-he
text and its French translationsee in E. Quatremere'sNotice et extraítsdes l/ss. de la Bibliothèc1ue
du l?oi et autre bibliothèques,xw
(Paris,1843),pp. 308-11, 387-126.
3. O. F. Akirnushkin.A. A. Ivanor,,PersidskientiniatiuryXIL:-WII w. (PersianMiniaturesof the l4th-lTth ccnturics)(Moscorv.
1 9 6 8 )p, . 9 , N o . 1 7 .
4.T'he Tadhikirtttu'sh-Shu'cu'á'("Ilemoirs of the Poets") of Dawlatsháh bin'tllá'u'd-Dawla Bakhtísháhal-Ghti:í ryfSamorqand.
ed. E. G. Brorvne(London-Leyden. l90l). p. 350.
5. Ghiyàth al-Din b. Humám al-Din Khwándantr, Habïb al-síyyarfi akhbíu' afrad bashar. Ba ihtimám-i Jalál Hunrà'i (Tihran.
1 3 3 3 / 1 9 5 4i )v.. p p . 4 7 . 5 7 , 5 91. 6 0 .
6. D[st-Muhammadal-KátibIlarawi. Muqaddima,manuscriptH.2154 (lstanbul,TopkaprSaral'r).Íbls. I5b-16a.
7. Sám-mirzáSafarvi,Tadhkirali tuhfali Sàmí.Ba tashih rva muqaddimaaz Rukn al-Din Humár'unÍarrukh(Tihrán" 1355/ 1976).
'Abd
8. Matla' al-sa'da1,nv,a ntajna' al-bal.trayn.Tàlif-i marvlarviKamál al-Din
al-RazzáqSamarqandr.Cháp-i durvwum. Jilcl-i
durvwun.r.
Ba tashih-iMuhammadShafi' (Lahore.l3 68/ 1949),pp. 2-3, 654-5. At the samctime his intercst in art and calligraph.v"
d id
not preventhim from harshlytrcatingthc ltrmousmasterMa'ruf KhattátBaghdádi,the teacl.rer
of his favoriteSharrsal-Din N4Lrharnmad
Hararvr,from 818/1415 staff memberof the court library of Sháhrukh.Bàysungl'rur-mirzà
orderedto irnprisonthe artistin the basement
of the lkhtiyàr al-Din fortressin Herat.BeÍbrethat he rvasseveraltimestakento scaÍ}bld,as if to be executed.though no direct evidcnce
rvith Ahmad-i
ofhis participationin the conspiracyagainstSháhrukhof830/1427 had beenÍbund (but for the fact ofhis acquaintance
Lur). Probably,the whole episodervasdue mainly to the privateanimosityof Báysunghurtorvardsthe oalligrapher.
rvho had dared.after
keeping"good paper" sent to him by BàysunghurÍbr making a copy of Kftamsa by Nizámi for over a )'ear.to send it back, thus retusing
"high
to carryout the
cornmission".
For more detailssee'Abd al-Razzáq,
ed. Shafi'. ii, Pt. I, pp. 589-90. Khrvàndamir(seeed. Humá'i.
iii. pp. 6l 6-7) and Qádi Ahmad. seeKc:i A hmad. Traktat o kalligrafakh i khudo:hnikakh.I 596-97 / 1005 (A Treatiseon Calligraphcrs
and Painters.1595-91 11005),introduction,translationand commentaryby ProÍ. B.N.Zakhoder (Moscorv-Leningrad. 1947),p.71.
borrowedthis passageÍiorn 'Abd al-Razzáq,slightly "embellishing" it. Cl also Zttbdat al-tawarikh, Íiom sal,yid Jarvádi.ii, p. 915 f1.
9. Ed. Shafi', ii, Pt. 2-3. pp. 654-5. 660.
10. Ed. Brorvne.pp.350. 340; Darvlatsháh
markshim amongthe Íbur extraordinary
talentsliving in Heratunder Sháhrukli.According to Darvlatsháh,"at that time therc rvasno one equalto them in the inhabitedpart of the world".
11. Diist-Muhammad.lbls. 5a-5b, 8a-8b.
12. Mahdi Bayáni,Athrlr va shwal-i khushnawisan.Nasta'lighnawísàn,i (Tihran, 1345I 1966).pp. I I 7-8.
13.Doubtsin the authenticityofthe "Report" rvereexpressed
by ProÍ'.P. Souchck.In her paper,deliveredat the internationalconltrcnce of 1977 in Edinburgh. she suggestedthat the "Report" had been rvritten in Samarqandafter the death of Bàysunghur (scc
I). A. Andrervs, "Thc tcnts of Tinrur. An examination of reports on Qurultay at Samarkand, 1404", Art of Eurasian Ste;tpelands
"School
{Universityof London, 1978),pp. 167,179:.E. Grube,
of Herat, 1400-1450", TlrcArts of the Book in Centrallsic (London.
1979),p. 177). I do not know rvhatactuallyled Prof. Souchekto this conclusion.The very fact that Ílve ofthe nine manuscriptsmentioncd in the "Repor1"hzivesurvivedto thc presenttimc (l worked on four of them myself - they all have the slzarrsa-exlibris
o1'
[]àvsunghur-mrrzáon the Í'irstpage and they all had beencopied exactly by thosecalligraphersr.vhoare indicatedin the document)n.rakcs
rnedisagreervith her opinion.
l 4 . T h e ' a r d a d a s h t t e x t w i t h a t r a n s l a t i o n a n d c o m m e n t a r y ( n o t a l r v a y s p r c c i s c ) r v a s p u b l i s h e d1i 9
n7
T 6u (r sk ee ey M
i n. K e m rÓ
l zcrgin. "Temiirlii sanatrnaait eski bir belge.Tebrizli D.ja'far'rnbir Arzr", Sanst Tarihi hll$t,Yl (1976),pp. 171-5 l8): in Iran in 19'77
(seeAhmad Pársà-yiQuds, "Sanadi marbut ba fa'áliyathá-yi hunarl-yi darvra-yiTirnlri dar kitábkhána-yiBaysunghuri-yi Harar''.Htrncrr
ta mardunt.No.75 (1977).pp 42-50; the text of the document(on p.43) is reproducedÍiom the Turkish publication;the tvped text is
trn pp.49-50) and in USA in 1989(see'fhon.ras
W. Lentz and Glen Lowry. Timur ond the Princeil,L'ision.PersianArt ontl (lttlntre in
tlrcFifteenthCentury(Washington-Los Angeles,1989),p. 160).ln the sameedition(pp. 364-5. Appcndix I). the Englishtranslationof
"Report"
the
by W.'fhackston is published.Seealso A Century of Princes; Sotuceson Timurid Ilistory and Art, selectedand translatcd
h1 W. M. Thackston(Carnbridge,Mass. 1989),pp.323-8. The inÍbrmationprovidedby the "Report" rvas used (concerningthe conrtructionof the "sovereign's
tent").translatedand commentedby P. A. Andrervsin his "The tentsof l'imur. An examinationof Reportson
tlurultay at Samarkand.1404". pp. 161-9, also by Oktay Aslanapa,"The art ol'bookbinding", The Arts of the Book in Central Asia
,l-ondon, 1979),p.59, rvhcreAslanapaenumerated
all mastersof bookbindingmcntionedin the "Report" and narratedthc contcntsof
:hosepartsof the documentdealingrvith their rvork. Finally. T. W. Lents suggestedhis own translationof the "Report" into English.
f upplementingit with a brief commentary,seeThomasW. Lentz, Painíing at Herat under Bdysunghuribn Shahrttkh,PhD thesisof I 985
L.{nn-Arbor.1986),pp. 147-54. 481-8.
15.Those are: Tabaqàt-iÀzsÍ'i by Jlz.jáni(MS, Berlin, Staatsbibliothek.
Petermannl. 386), calligrapher- Ahmad b. Mirs'[d alIl Írni, Herat,8 l4 / l4 I l- I 2. The nameof Bnysunghuris rvrittenin gold in the colophon(fot. I 55b): "The Anthology of PersianPoets"
ff10qnuscr ipto C) r ientalio'
vol.3 No.I M AR C H l eej
\Í:. Ilrrlin. Kaiscr FricdrichN4useumIslamischeKunstabteilung,
J 4628),calligrapher- Mahmud al-lJusayni,Shirà2.823/1420.The
'..r:ri r)l llllr sunghuris in thc slarlsa-cxlibris(fol. la).
l6 tl. \\'. I{obinson.''Princcl}aysonghor's
Nizami: a speculation",
Árs Orientalis,No. 2 (1957),pp. 383-91 (list on pp. 381-5).
1- \lacsirnilereproductionoftlic"Bàysunghur's"forervord.colophon.22rniniaturesandilluminationsofthemanuscriptwasm
:r I chritn in 197l. seeThe Shah-nantehof Firdowsí. The BaysonghorMantrscript;An Album of Miniattu'esand illuminations Completed
,: \ -r-r. l l !. / l l30 A.D. and Preservedin the lmperial Library (Tehran, 1971). 'l'his edition was preparedby B. Grel'.
(Nos.4-5).
18.I ras lucky'torvorkon lbur o1the Ílve listedmanuscripts
in Tehran(Nos.2-3) and in St. Petersburg
19.I)crsianclegicsby the follor.vingauthorsrvereincludedinto tlie anthology:l. MarvlánáKamál al-Din Ja'far knorvn as Khattát
rtiri la): 2. MarvlánáZáhidi (fol. 5a)l 3. JalelKirrnáni (fol. 66); '1.Anrir Jalálal-Din YÍsuf knorvnas Amln (fol. 8b): 5. MarvlánáLutf i
i1i,f. 1f11 6. MarvlánáWali itbt. l2b).7. MarVlánáÀsafi iÍbl. l3b); 8. Wáhidi (fol. l8a); 9. Munshi (Íbl. 22a); 10.MarvlirnirMuhammad
'alq,hi
ilirl 28b).nho rvrotetàrïkh with thc dateoÍ'makingthe copy:rahntatuAllahi
abad (:648 + 67 + 115+7 :837).
10. D[st-Muharnmad.fol. 8b.
21. Ibid.. f<tl.9a.
'Abd
22.
al-Razzáq.cd. Shafi'. ii, 2-3. pp. 655, 660.
23. l-entzand Lorvrl'. op. t:it..p. 160.
"l"ragmentv
2-1.See my article
clokumentovs VostochnogoPamira" ("Fragmentsof documentsÍiom the East Pamirs"). Pis'ntennye
(
N
4
o
s
c
o
r
v .9 7 7 )p. . l 3 l .
L
'
o
s
t
o
k
a
.
1
9
7
2
1
ituntiotniki
I l l u s t r a t i o n s
"Siyárvush
Playing Polo rvith AÍiásiyáb". A miniature fron Shah-nàrra by Firdawsi (fol. l40a),
manuscript D 184 of the St. PctcrsburgBranch of the Institute of Oriental Studies,Russian
Acadcrny of Scicnces,dated by 5 Muharram 93 l/2 November 1524 and copied in Tabriz by
calligrapher Muhammad al-Hararvi. The miniature is attributed to Sultán-MuhamrnadTabrizi.
2 1 . [ ix 1 8 . 3c m .
Fig.2. "The Joint Feastof Fariburzand Farangis".A miniaturefrom the samemanuscript(Íbl. l95b). The
TabrrzÍ,15.7x 14.7cm.
miniatureis attributccl
to Sultán-Muhammad
"Polo
(fol. l40a). manuscriptB 1200of the St. Petersburg
Fig.3.
rniniaturelrom
D'íwan-i
IIáfi2
Garne".A
Branchof the Instituteof OrientalStudies,RussianAcadernyof Sciences,
datedby 939/1532-33
and copied by calligrapher Muhammad [b.] Qawám al-Din Shirázi, Shiráz commercial style.
1 3 . 6x 7 . 9c m .
"A
Fig.4.
Sceneof Hunting". A miniatureliom the samemanuscript(fol. 81a), Shirázcommercialstyle,
1 3 . 5x 7 . l i c m .
"The
Fig. 5.
Fight of Rirkhsh rvith a Lion Guardin-qRustàm". A miniature from Shah-nàrra by l'irdarvsi
(fol.46b). manuscriptC 1654 of the St. PetersburgBranch of the Instituteof Oriental Studics,
RussianAcircleniyof Sciences,
datedb1'Rarnadàn849/December1445and copiedby calligrapher
Muhamrnadb. Jalálal-Din, Shiráz-Yazd paintingschool,11.2x 12.1cm.
"The
Fig.6.
Battleof Bárzuagainstlranians".A miniatureÍiom the sarremanuscript(Íbl. l43a), ShirazY a z dp a i n t i n es c h o o l .1 8 . 0x 1 5 . 5c m .
Fig. l.
RUSSIANACADEMY OF SCIENCES
THE INSTITUTEOF'ORIE,NTALSTUDIES
BRANCH
ST.PETERSBURG
ryllolnuscuipti C)rientorlia
Jntevnotionol ./oucnol ioc ()eientil CY$nnrrscriptQeseaccll
Vol. 3 No. L March 1997
76ese4
.) t. /t ereusburg-$ elsinki
< i
,
|
r r a
a
CONTENTS
Bibliograplryof Booksand Articles by Ronald Eric Emmerick. compiled by M. Maggi .
TEXTSAND MANUSCRIPTS.DESCMPTIOT{AND RESEARCH.
M. Maggi. Two Reinterpretationsin the KhotaneseSudhqnAvaddna.
6
o
M. Vorobyova-Desyatovskaya.
TibetanEighth-Century
Documents
on Woodfrom Miran .
o. Akimushkin. The Library-workshop (kitabkhana)of Bàysunghur-Mirzàin Herat
t4
TEXTAND ITS CULTURALINTERPRETATION
z)
E' Rezvan. The Our'án and Its World: II. The Miracle of the Book (The Our'án and Pre-lslamicLiterature) .
2J
PRESENTINGTHE COLLECTIONS
JJ
T. Pang. Manchu Collectionsin Paris
JJ
OME|{TAL MAI\ruscMPTS AI\rDNELYINF)RMATI)N TECHN)L)GIES .
40
val. Polosin,E. Rezvan.To thecD-RoM Editionof the St.petersburs
ArabicBible
40
PRESENTINGTHE MANUSCNPT
48
A. Kabanoff. On an Anonymous Manuscript Higashi Ezo iko
48
OME]{TAL ICONOGRAPHY..SEMANTICS .
51
K. Samosyuk. The Guanyin Icon from Khara-Khoto
Reza T. Ahmadi. Symbolismin PersianRugs
oz
BOOK REVIEWS.
65
5l
CoLoUR ?LATES
Front cover:
Windingup threadsinto balls, 17.7x26.5cm,an illustrationto the anonimous
manuscriptHigashiEzo iko,
Manuscriptfund of the St.Petersburg
Branchof the Instituteof OrientalStudies.
Back cover:
Pf ate l.The Ainu loom,38,2x26.5cm, an illustrationto the anonimous
manuscript
HigashiEzo iko,
Manuscriptfund of the St.Petersburg
Branchof the Instituteof OrientalStudies.
P I a t e 2. The weavingprocess(attush-kar),38.2x 26.5cm, an illustrationof the anonimousmanuscript
HigashiEzoiko,Manuscript
fundof theSt.Petersburg
Branchof theInstituteof OrientalSrudies.