- 103
Jami, Tuhfat al-Ahrar, copied by Muhammad Qasim, Persia, Safavid, first half 16th century
Estimate
80,000 - 120,000 GBP
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Description
- ink on paper, bound
Persian manuscript on polished paper, 61 leaves plus 7 flyleaves, 15 lines to the page, written in fine nasta'liq script in black ink within 2 gold-sprinkled columns divided by gold rules, headings written in blue, red and gold, catchwords, 20 leaves with marginal glosses written in diagonal script, extremely fine opening double page illuminated frontispiece in colours and gold, the ground filled with a fine interlace of scrolling vines, split-palmettes, text within cloud bands against a hatched ground sprinkled with gold flowers, following page with corresponding headpiece, f.1a with various seal impressions, later red morocco binding with central saz leaf medallions, with flap
Condition
In very good overall condition, minor paper repairs, some losses to lower corners, pages otherwise clean, illumination bright and ink clear, minor water stains to leaf edges, minor worm holing, binding with some wear, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
This exquisite version of Jami’s Tuhfat al-Ahrar, originally in the library of Suleyman Shah I, was copied by Muhammed Qasim Ibn Shadishah, one of the leading masters of nasta'liq script during the reign of Sultan Husayn Bayqara in the late Timurid/early Safavid period.
The text begins with the opening verses of Auhadi’s Jam u Jam, followed by the complete text of 'Abd al-Rahman Jami’s Tuhfat al-Ahrar. The frontispiece is attributable to Shaykhzade on account of its close resemblance to the frontispiece of the Bustan of Sa'di formerly in the Art and History Trust Collection (where it is attributed to Shaykhzade, see Soudavar 1992, pp.195-96, and sold in these rooms 8-9 October 1979, lot 261). The present manuscript is of royal provenance, as indicated by the Persian note on the fly leaf stating that this manuscript was once included in Suleyman Shah's library (r.1666-94).
MUHAMMAD QASIM B. SHADISHAH
Muhammad Qasim Shadishah, as he is referred to by Malik Dailami, was one of the leading masters of the nasta‘liq script characteristic of the early Safavid period. According to Dailami, he studied under Sultan ‘Ali Mashhadi (d.1520), whose students included Safavid court calligraphers such as 'Abdi Nishapuri, Rustam ‘Ali, Sultan Muhammad Khandan, and Sultan Muhammad Nur. Sultan ‘Ali Mashhadi is also mentioned as Muhammad Qasim’s teacher by Shams al-Din Muhammad Vasfi (Thackston 2001, p.33 and Roxburgh 2001, p.101), although Dust Muhammad mentions him as the student of Maulana Sultan Muhammad Nur and Maulana Sultan Muhammad Khandan (see Bayani 1966-69, p.1:272-279, Thackston 2001, pp.10-11, 21, 25, fol.12a/3, and Soucek 2003, pp.52-53).
There are seven recorded works of Muhammad Qasim Shadishah, as follows:
1- Divan-i Shahi, dated 1548, Golestan Library, Tehran
2- Anthology of Poetry, dated 1527, Freer Gallery of Art, Washington
3- Yusuf u Zulaykha of Jami, dated 1522, Chester Beatty Library, Dublin
4- Tuhfat al-Ahrar of Jami, Topkapi Palace Museum Library, Istanbul
5- Bustan of Sa‘di, dated 1528, Turkish and Islamic Art Museum, Istanbul
6- Bustan of Sa‘di, Art and History Trust Collection
7- Bustan of Sa‘di, Art and History Trust Collection
Muhammad Qasim b. Shahdishah participated in the production of an anthology of poetry, dated in 1524, for the Safavid vizier Khawaja Malik Ahmad, the governor of Herat under Shah Isma'il. The anthology bears the signatures of 'Ali al-Husayni, Muhammad Qasim b. Shadishah and Muhammad Khandan (see Roxburgh 2005, p.179).
SHAYKHZADE
Shaykhzade, a court painter of the Safavid period active between 1510 and 1550, is famed for his signed works and collaborations with renowned calligraphers such as Muhammad Qasim Shadishah. Spending his early career in Herat, his style was influenced by Bihzad, who is recorded by the Ottoman chronicler Mustafa 'Ali Efendi as his tutor. He then moved to Bukhara to work under the royal library-atelier patronised by Ubaydallah Khan. Shaykhzade’s painting style evolved slowly as he continued to work with the same late Timurid elements of design. By the 1520s, his paintings were akin to the work of the best illuminators, filled with fine arabesque patterns and intricate geometric motifs designed in a minute scale.
The text begins with the opening verses of Auhadi’s Jam u Jam, followed by the complete text of 'Abd al-Rahman Jami’s Tuhfat al-Ahrar. The frontispiece is attributable to Shaykhzade on account of its close resemblance to the frontispiece of the Bustan of Sa'di formerly in the Art and History Trust Collection (where it is attributed to Shaykhzade, see Soudavar 1992, pp.195-96, and sold in these rooms 8-9 October 1979, lot 261). The present manuscript is of royal provenance, as indicated by the Persian note on the fly leaf stating that this manuscript was once included in Suleyman Shah's library (r.1666-94).
MUHAMMAD QASIM B. SHADISHAH
Muhammad Qasim Shadishah, as he is referred to by Malik Dailami, was one of the leading masters of the nasta‘liq script characteristic of the early Safavid period. According to Dailami, he studied under Sultan ‘Ali Mashhadi (d.1520), whose students included Safavid court calligraphers such as 'Abdi Nishapuri, Rustam ‘Ali, Sultan Muhammad Khandan, and Sultan Muhammad Nur. Sultan ‘Ali Mashhadi is also mentioned as Muhammad Qasim’s teacher by Shams al-Din Muhammad Vasfi (Thackston 2001, p.33 and Roxburgh 2001, p.101), although Dust Muhammad mentions him as the student of Maulana Sultan Muhammad Nur and Maulana Sultan Muhammad Khandan (see Bayani 1966-69, p.1:272-279, Thackston 2001, pp.10-11, 21, 25, fol.12a/3, and Soucek 2003, pp.52-53).
There are seven recorded works of Muhammad Qasim Shadishah, as follows:
1- Divan-i Shahi, dated 1548, Golestan Library, Tehran
2- Anthology of Poetry, dated 1527, Freer Gallery of Art, Washington
3- Yusuf u Zulaykha of Jami, dated 1522, Chester Beatty Library, Dublin
4- Tuhfat al-Ahrar of Jami, Topkapi Palace Museum Library, Istanbul
5- Bustan of Sa‘di, dated 1528, Turkish and Islamic Art Museum, Istanbul
6- Bustan of Sa‘di, Art and History Trust Collection
7- Bustan of Sa‘di, Art and History Trust Collection
Muhammad Qasim b. Shahdishah participated in the production of an anthology of poetry, dated in 1524, for the Safavid vizier Khawaja Malik Ahmad, the governor of Herat under Shah Isma'il. The anthology bears the signatures of 'Ali al-Husayni, Muhammad Qasim b. Shadishah and Muhammad Khandan (see Roxburgh 2005, p.179).
SHAYKHZADE
Shaykhzade, a court painter of the Safavid period active between 1510 and 1550, is famed for his signed works and collaborations with renowned calligraphers such as Muhammad Qasim Shadishah. Spending his early career in Herat, his style was influenced by Bihzad, who is recorded by the Ottoman chronicler Mustafa 'Ali Efendi as his tutor. He then moved to Bukhara to work under the royal library-atelier patronised by Ubaydallah Khan. Shaykhzade’s painting style evolved slowly as he continued to work with the same late Timurid elements of design. By the 1520s, his paintings were akin to the work of the best illuminators, filled with fine arabesque patterns and intricate geometric motifs designed in a minute scale.