An Illustrated Manuscript of Nizami's Khamsa, copied by Ibrahim at Astarabad, Persia, dated 915 AH/1509 AD

Persian manuscript on paper, 387 leaves, 19 lines to the page written horizontally and occasionally diagonally in neat Nasta'liq script in black ink in 4 columns, double intercolumnar rules in gold, numerous headings in blue Nasta'liq script within illuminated rectangular panels, catchwords, margins ruled in colours and gold, opening double-page illuminated frontispiece in colours and gold, 5 finely illuminated headpieces, 15 miniatures in Shiraz style of 2nd quarter of 16th century, contemporary brown morocco binding with gilt-stamped panels and medallions decorated with interlacing foliate arabesques

Ex-Collection Hagop Kevorkian
Sotheby's London 3 April 1978, lot 147
Sotheby's London 19 October 1994, lot 108

Persian Exhibition, New York, 1940

G. Dunham Guest, Shiraz Painting in the Sixteenth Century, Washington, 1948, pls.36B, 37A-B

In generally good overall condition, spine slightly worn, overpainted and spine repaired, some staining, marginal repairs at the opening and closing, some miniatures with abrasions, otherwise pages clean, ink bold and illuiantion bright, as viewed.
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Three of the colophons in this manuscript (those of the Makhzan al-Asrar, Haft Paikar and Iskandarnama) give the information that it was copied by al-Abd Ibrahim at Astarabad in 915/916 AH (1509/1510 AD), but the miniatures are plainly of the Shiraz style of the second quarter of the sixteenth century. G. Dunham Guest attributes the miniatures in the present manuscript to 'Painter B' (see G. Dunham Guest, Shiraz Painting in the Sixteenth Century, Washington, 1948, p.43). B.W. Robinson describes this painter as 'undoubtedly the most competent Shiraz painter at this period.....his figure-drawing is markedly superior...' (B.W. Robinson, Persian Paintings in the Bodleian Library, Oxford 1958, p.97). 'Painter B' also contributed to other important manuscripts of the period, notably the Khamsa of Nizami in the Freer Gallery of Art, Washington (MS. 08.199), the Shahnameh of Firdausi in the India Office Library (Ethe 867) and the Majalis al-Ushaq of Sultan Husain Mirza in the Bodleian Library (MS. Ousely Add.24). For a full discussion of the Shiraz painting of this period, including the present manuscript, see G Dunham Guest, op.cit. and B.W. Robinson, op.cit., pp.97-102, pl.XIV.

The miniatures in the present manuscript are as follows:

        Makhzan al-Asrar

1.       The old woman pulling the hem of Sultan Sanjar's robe.

2.       Harun al-Rashid at the bath-house.

        Khusrau va Shirin

3.       Khusrau spies Shirin bathing in a mountain stream.

4.       Shirin and her maidservants visit Farhad before Mount Behistun.

        Layla va Majnun

5.       Layla and Majnun at school.

6.       Majnun stands before the Ka'ba.

7.       The battle of the Clans.

8.       Layla and Majnun swooning in an encampment.

        Haft Paikar

9.       Bahram Gur in the Yellow Pavilion with the Moorish princess.

10.   Bahram Gur in the Red Pavilion with the Russian princess.

11.   Bahram Gur in the White Pavilion with the Greek princess.

        Iskandarnama

12.   Iskandar fighting the Zangi.

13.   Iskandar comforting the dying Dara

14.   Iskandar in combat with the Russian demon-champion.

        Iqbalnama (Iskandarnama II)

15.   Plato charming the wild beasts with music.