Lot 15
  • 15

Exceptionnel album de douze pages calligraphiées à l'or en découpage (Qatta'i), par Mir 'Ali al-Harawi (al-Katib al-Sultani) et Sangi 'Ali Badakhshi, Iran, art safavide, première moitié du XVIème siècle

40,000 - 60,000 EUR
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  • par Mir 'Ali al-Harawi (al-Katib al-Sultani) et Sangi 'Ali Badakhshi
  • album de douze pages calligraphiées à l'or en découpage
poésie persane, 2 lignes par page, en écriture nasta'liq, reliure et boîtier d'origine, sceau de possesseur au nom de 'Rokn al-Dawla'

Catalogue Note

To make this album, sheets of gold were cut to form letters, syllables, and words in nasta'liq script. Cut-out calligraphy (découpage), called qat' in Persian and kat in Turkish, was first applied to calligraphy in Arabic script in the 15th century. One of the earliest is a small manuscript of the hundred sayings attributed to 'Ali Ibn Abi Talib copied by Muhammad ibn Sayyidi Ahmad ibn 'Ali al-Sufi al-Maraghi in AH 876/1471-2 AD. This technique became even more popular at the court of the Timurid Ruler Sultan Husayn. The calligraphy designed by the master Mir 'Ali al-Harawi was then skillfully cut by the paper-cutter (Qatta'i) another famous master Sangi 'Ali Badakhshi, and placed in the space dedicated to them. This album is a wonderful example of collaboration between two important and famous masters combining their skills. Sangi 'Ali Badakhshi, pupil of the famous Persian miniature painter Dust Muhammad, is mentioned in Shams al-Din Muhammad Wasfi's preface to the Shah Isma'il II album in Topkapi (K 2138) as a découpeur and listed under calligraphers of Shiraz and Kirman. Qazi Ahmad wrote in Golestan-e Honar (1591) that Sangi 'Ali always took the calligraphic works of Mir 'Ali and did the découpage as well as nobody can distinguished the works of the two, even if one is made by the pen and the other by the cutter. There is only one comparable album, signed by Mir 'Ali and Sangi 'Ali, unpublished, conserved in the Asian Civilisations Museum in Singapore (inv. 1999.799). Dr. M. Bayani, mentioned that he saw one album page signed by the two masters from the collection of Shah Isma'il in the Istanbul Library (M. Bayani, Ahval va-Asar-e Khoshnevisan, vol.I, Tehran, 1988, p. 495). See also : W.M. Thackston, Album Prefaces and other Documents on the history of Calligraphers and Painters, Brill, Leiden, 2000, pp. 33-34 ; S.S. Blair, Islamic calligraphy, Edinburgh University Press, 2006, p. 71 ; Y. Zaka, Rani dar- Honar Kaghiz Bor, Tehran, 2000.