105
105

PROPERTY FROM A PERSIAN PRIVATE COLLECTION

An illustrated copy of Nizami's Khamsa, copied by Wahabi Sajavandi, Central Asia, Andhizan, dated 1003-5 AH/1595-7 AD, the illustrations Isfahan, mid-17th century
Estimate
40,00060,000
JUMP TO LOT
105

PROPERTY FROM A PERSIAN PRIVATE COLLECTION

An illustrated copy of Nizami's Khamsa, copied by Wahabi Sajavandi, Central Asia, Andhizan, dated 1003-5 AH/1595-7 AD, the illustrations Isfahan, mid-17th century
Estimate
40,00060,000
JUMP TO LOT

Details & Cataloguing

Arts of the Islamic World

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London

An illustrated copy of Nizami's Khamsa, copied by Wahabi Sajavandi, Central Asia, Andhizan, dated 1003-5 AH/1595-7 AD, the illustrations Isfahan, mid-17th century
Persian manuscript on paper, 232 leaves, remargined throughout, borders of thick pink paper, 23 lines to the page, written in 4 columns of nasta'liq script in black ink, headings in red, margins ruled in colours and gold, 4 illuminated headings, 34 miniatures, later lacquer binding incorporating two European prints
40.7 by 26.5cm.
Read Condition Report Read Condition Report

Provenance

Sotheby's London, 23 November 1976, lot 405; sold again in these rooms 19 October 1994, lot 115.

Literature

L.S. Diba and M. Ekhtiar, Royal Persian Paintings, the Qajar Epoch, 1795-1925, Brooklyn, 1998, p.108-110, no.5.
L.S. Diba, Lacquerwork of Safavid Persia and its Relationship to Persian Painting, New York University, 1994, no.90.

Catalogue Note

TEXT AND MINIATURES

The text is the usual version of Nizami’s Khamsa. Approximately fifty years after the execution of the manuscript it was remargined throughout with pink paper and embellished with nearly one hundred miniatures, all of which were numbered in the upper margin. During or before the rebinding of the manuscript in the nineteenth century some seventy folios were lost including two-thirds of the miniatures (34 remain, the last is numbered 92). The text was re-assembled in some disorder. For the correct order of folios see footnote to lot 405, Sotheby’s, 23 November 1976. The illuminated headings appear as follows:

f.4b Makhzan al-Asrar.
f.1b-2a Khosrow va Shirin.
f.63b-64a Layla va Majnun.
f.200b Iqbalnama.

The miniatures, generally half a page, are boldly executed in the mid-seventeenth century Isfahan style with figures rather larger than normal. They are in the style of Muhammad 'Ali and may be by him. He was active in manuscript illustration and he is known to have contributed to two manuscripts of the Diwan of Hafiz, each containing some five hundred illustrations (Chester Beatty Ms.299 and Topkapi Sarayi Ms.H.1010). The subjects of the miniatures remaining in the present manuscript are as follows:

f.4a Shirin looking at Khosrow’s portrait (numbered 22)
f.14b The Hajji and the Sufi. Illustration to the 13th maqala of the Makhzan al-Asrar (numbered 11)
f.18b The court of Sultan Tghril (numbered 18)
f.22b The injured boy and his companions. Illustration to the 16th maqala of the Makhzan al-Asrar (numbered 13)
f.25a Khosrow and Shirin at polo (numbered 29)
f.28a Khosrow and the lion (numbered 30)
f.32a Death of Mahin Banu (numbered 33)
f.36b Shirin visits Farhad at Mount Behistun (numbered 42)
f.41a Khosrow feasting with Shakar of Isfahan (numbered 42)
f.43a Shirin and one of her maids by night (numbered 44)
f.53a. Barbad playing music to Khosrow and Shirin (numbered 46)
f.55b Khosrow in discussion with Buzurg-amid (numbered 53)
f.60b Jesus and the dead dog. From maqala 10. (numbered 8)
f.66b Battle of Bahram Gur and the Khaqan (numbered 70)
f.76B Majnun comes to Layla’s tent (numbered 56)
f.80a Farhad pining for Shirin (numbered 40)
f.86b Sultan Sanjar and the old woman. From maqala 4 (numbered 3)
f.92a Majnun visited by Zayn (numbered 67)
f.98b Majnun on Layla’s tomb (numbered 69)
f.102a The Black Pavilion (numbered 72)
f.107b The Yellow Pavilion (numbered 73)
f.110a The Green Pavilion (numbered 74)
f.113a The Red Pavilion (numbered 75)
f.116b The Blue Pavilion (numbered 76)
f.121a The Sandal-wood Pavilion (numbered 77)
f.122b Khosrow at Shirin’s palace (numbered 46)
f.148b Khosrow feasting (number 50)
f.152b Shirin taking leave of her maids (numbered 25)
f.158a Battle between Iskandar and Dara (numbered 82)
f.163b Jamshid and an old woman. From maqala 18 (numbered 15)
f.184a Iskandar and the veiled woman in the land of Qipchaq (numbered 92)
f.190b The greengrocer and his dog. From maqala 8 (numbered 6)
f.198a The falcon and the nightingale. From maqala 20 (numbered 17)
f.212a Iskandar before Queen Nushaba (numbered 87) 

THE BINDING

The lacquered binding is of nineteenth century Persian production, but the two engravings which form the outside of the covers are French and signed by the engraver and editor François Mazot, dating from circa 1640-50. They each show a betrothed couple with various symbols of love and fidelity, including Cupid and a small dog. The engravings have both been trimmed so that the titles and the bottom, although just visible, are no longer legible.

Arts of the Islamic World

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