Mughal and Persian Paintings and IIIustrated Manuscripts in the Raza Library, Rampur 8173052786, 9788173052781

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MUGHAL AND PERSIAN PAINTINGS AND ILLUSTRATED MANusClllPTS

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LIBRARY' RAMPUR

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MUGHAL AND PERSIAN PAINTINGS AND ILLUSTRATED MANUSCRIPTS IN THE RAZA LIBRARY' RAMPUR

Barbara Schmitz Zlyaud-Dln A. Desai

INDIRA GANDHI

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NATIONAL CENTRE FOR THE ARTS NEW DELHI

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RAMP UR

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MUGHALAND PERSIAN PAINllNGS AND lll.USTRATED MANUSCRIPTS IN 1HE RAZA UBRARY, RAMPUR

ISBN-81-7305-278-6

C Rampur Raza Ubruy, Rampur .tc Indira Gandhi National Centre for the Arts, New Delhi No reproduction or translation of this book or part thereof in any form, except brief quotations, should be made without the written permission of the copyright holders and the publishers.

First published in 2006 by:

INDIRA CANDID NATIONAL CENTRE FOR TIIE ARTS Central Vista Mess, Janpath, New Delhi - 110 001

RAMPUR RAZA UBRARY Rampur

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Foreword

At the beginning of 1997, the exhibition of the PiidsbiJbnama from The Royal Library, Windsor Castle opened at the National Museum, New Delhi. The exhibition was very popular and well attended, and received favourable comments from Indian scholars and the press. However, there was a complaint often voiced by these same people: "What a pity it is that all the best pieces of Indian painting have been taken out of our country, and are now in European and American collections!" With this thorough publication of the Mughal and Persian paintings and illustrated books in the Raza Library, Rarnpur, we learn that the loss of our national treasures is not as 'total' as the critics voiced, but that our Indian collections of Mughal paintings are barely known to our own people. Perusing the 330 plates for this survey of the Rampur collection, we see seven miniatures from the great jabangirnilma (Plates 1-7), considered by many as the greatest of all Mughal illustrated manuscripts; other institutions would feel lucky if they have even one painting from this seminal book. And that is but one example of the richness of this collection. Two of the finest manuscripts of the Akbar period are in the Raza Library: a work on astrology Tarjama-t Strr aJ-maklUm (Plates 13-19) with seven very large pain~ and one hundred and fifty small ones by member of Akbar's painting atelier around 1580, and a Diviln-t lfaft:f (Plates 168-174) with eleven miniatures by his best court artists painted in Lahore about 1585, published here with much new scholarship. Many fine portraits were found in the 35 albums. A frank painting of the aging Jahangir at the jbarokba towards the end of his life (Plate 46) and a drawing by the artist 'A.bid, considered by some scholars to be the finest of all Mughal

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painters, showing an Uzbek envoy (Plate 29), and the many other portraits from the 17th-19th centuries will come as wonderful surprises to those interested in Indian art throughout the world. Further highlights of the Rampur Collection are enumerated by Dr. Schmitz in her introductory essay (pp. 1-10). A second worthwhile aspect of this publication is that it gives a detailed inventory, with measurements and descriptions of some five thousand paintings and miniatures held in the Raza Library. As part of the inventory process, the IGNCA photographer made photographs of the contents of all the Albums and an IGNCA team microfilmed most of the illustrated manuscripts (these resources can be used by qualified scholars, in Delhi, at the IGNCA Library) . This means that scholars and students of art know what is in the collection without having to blindly look through the collection to find Items of interest to them (and thus there is less exposure of the delicate paintings to wear and tear). This inventory will also help a great deal in minimizing possibilities of interference with works of art in fragile and precious paper. The Raza Library project was begun in 1993, at a meeting between former Member Secretary Dr. Kapila Vatsyayan and then Fulbright Senior Research Scholar Dr. Barbara Schmitz. At this time, Dr. Schmitz presented checklists of illustrated manuscripts she had compiled during her visits to several Indian libraries and museums. But it was Dr. Vatsyayan's vision and energy that got the project off the ground. She secured the necessary permissions from the Governor of Uttar Pradesh and the other members of the Raza Library Board. She invited Dr. Schmitz to come back to India for six mondls as a fellow of the Indira Gandhi NatlonaJ Centre for the AJts

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to undertake the supervision of the documentation of the Raza Library collection and to complete her research on the Rampur collection. When the manuscript was complete and vetted, Dr. Vatsyayan secured the money to underwrite the publication. Among the many successful projects she undertook during her long tenure as Academic Director of IGNCA, this long awaited catalogue of the Raza Library paintings and illustrated manuscriprs cannOl but add luster to her legacy. My heartfelt thanks to Dr. Barbara Schmitz for her cooperation and sustained interest in the project during the long years of maturation, editing, and publishing of this complex and lengthy book. We appreciate the interest and help of Akbar Ali Khan Arshizadeh, Curator of the Raza Library, until his death in October 1997. Dr. Ziyaud-

Dr. K.K. Cbaknmuty Member Secretary, Indira Gandhi National Centre for the Arts

Dated: 19.07.2005 Place: New Delhi

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Din A. Desai, the eminent scholar of Perso-Arabic epigraphy, was persuaded to come out of retirement to make translations of colophons and endorsements in the manuscripts; we were all saddened by Dr. Desai's death in March 2002. Our thanks are also due to Dr. Lalit Gujral, Honorary Adviser at IGNCA until his retirement in September, 2003, for guiding the project and especially for his essay in this volume, on the history of the Nawwabs of Rampur and their libraries and also the more recent activities of the Raza Library. During the past years, Dr. Advaitavadini Kaul has kept the momentum of the publication going forward. All the other people who have rendered valuable help and aided Dr. Schmitz in this work also deserve our sincere thanks.

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Contents

Foreword

Ltst of Plates Acknowledgements 1be Development of Rampur SlaJe and 1be Ram Library by Lalit M. Gujral Highlights of the Collection by Barbara Schmitz Abbreviations, Transliterations, Conversion of Dates

1 11

1111! AIJIVMS

1. 2. 3. 4. 5.

6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

Mughal and Pahari paintings. Sixteenth-nineteenth centuries Tarjama-t Strr al-maktUm. Mughal. Ca. 1580 Mughal, Deccani, Rajasthani, Persian, and Bukharan paintings. Sixteenth-nineteenth centuries Mughal, Deccani, and Persian paintings. Sixteenth-nineteenth centuries Mughal, Deccani, Lucknow, Farrukhabad and Persian paintings. Flfteenth-nineteen!h centuries JliiBamiUa. Lucknow. Ca. 1790-1800 Mughal paintings mo5tly from Lucknow. Second half of the eighteenth-nineteenth centuries Mughal paintings mo&ly from Lucknow. Nineteenth century Mughal, Deccani, Farrukhabad, Lucknow, and Rajasthanl paintings. Sixteenth-nineteenth centuries Mughal, Rajas!hani, and Pahari paintings. Seventeenth-nineteenth centuries Mughal, Rajas!hani, and Sikh paintings. Seventeenth-nineteenth centuries Paintings of Indian holy men. Eighteenth-nineteenth centuries Mughal, Deccani, and Persian paintings. Sixteenth-twentieth centuries Mughal, Deccani, and Sikh paintings. Seventeenth-nineteenth centuries Mughal, Company, and Sikh paintings. Sixteenth-nineteenth centuries Mughal and Persian paintings. Sixteenth-nineteenth centuries Mughal and Company paintings. Eighteenth-nineteenth centuries Mughal and Rajasthani paintings. Eighteenth-nineteenth centuries Jlasamiila. Lahore. Third quarter of the nineteenth century Mughal, Pahari, and Rajasthani paintings. Eighteenth-twentieth centuries Pahari (Kangra style) paintings. Nineteenth century

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15 20 27 30

34 37 38 39 40 43 44 45 47 50 52 54 55

56 57 58 59

MUGHAL AND PERSIAN PAINTINGS AND ILLUS'lllAll!D MANUSCRIPTS IN 1liE RAZA UBRARY, RAMPUR

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22. 23. 24. 24bts. 25. 26. 27. 28. 29. 30. 31. 32.

Ragamalil. Lucknow. Mid-nineteenth century (?) Modem Indian paintings. Fi.rst half of the twentieth century

Company paintings. Nineteenth century Company paintings. Nineteenth century Modem Indian paintings. Fi.rst half of the twentieth century Ragamalil. Fi.rst half of the twentieth century Ragamalil. Fi.rst half of the twentieth century Modem Indian paintings. First half of the twentieth century .) 'Pornographic paintings. Pahari (Kangra). First quarter of the nineteenth century Pornographic paintings. Delhi or Lucknow. Ca. 1825 . Pornographic paintings. Rajasthani (?). First half of the twentieth century Pornographic paintings. Lucknow(?). First half of the twentieth century [There is no Album 33; possibly, Album 24bts.l 34. Colored drawings of flowers. Late nineteenth/first half of the twentieth century 35. Ragamalil. First half of the twentieth century

60 61 61 62 62 63 63

64 64 65 65 65 65 65 66

1111! I.EAVES

EJabty-ooe WUDOWlted ptlndnp andcbawlnp

71

MualwlManmcripa.al•U-otb seventecotbcienturla

79

l.1 Divan of l;lif~. Shams al-Din Mulµmmad, of Shiraz. Lahore. 1585-95. (P.3277) l.2 $uwar al-kawillttb by al-$ufi, 'Abd al-~ ibn Omar. 1590-1610 (A.3699) l.3 'Aja'tb al-makb/Uqiit wa gbarii'tb aJ-maU!Jiidat by al-Qazwini, Zakariya ibn Mulµmmad ibn MaJ.unud. 1000/1591-92. (A.4601) l.4 Sbmn va Farbadby Ghini'i. 1615-25. (P.4233) 1.5 Koltsbilstm, a Persian paraphrase of the Sanskrit Rattmbas of Koka Pandit, by Khwajagi Shirvani. 103211622. (P.1542b) I.6 MayalaPs al-akbar by Harmas al-~ri and Mana.ft' al-aJ,jar by 'Utarid ibn Mulµmmad al-l:lasib al-K.atib al-Falaki. Fi.rst half of the seventeenth century. (A.4243)

Il.l

79 82 83 85

86 87

Deuanl Manmcripa. sb:'""nth-nln.ctecotb cienturla

90

'Aja'tb al·makbUqiit wa gbarii'tb aJ-maU!fiidat by al-Qazwini, Zakariya ibn Mulµmmad

90

ibn MaJ.unud. 979/1571. (A.4600) Il.2 Bahar-t dilnt.sb by 'Inayat-Allah Kanbo. 114211729. (P.3062) 11.3 Ramayana. 124211826-27. (Misc.3)

95 97

M....... Maou9crlpG, e1Rhtecntb-twenddh cienturles

108

DELHI

Ill.I W.2 m.3 ill.4 ID.5

'Abdnama-t safa#n-t Gbori va Kbalfi. 1236/1821. (P.2055) 'Abdnama-t salii(in-t Tugbluq. 1234/1819. (P.2056) '.Abdnama-t safa#n-t Lodi va Sildat va .AJkban. 1235/1819. (P.2057) Nal Daman by Fayc.fi, Abu al-Fayiya al-Din al-Nakhshabi al-Bada'uni. Ca. 1825. (P.154-0b) 111.65 Shilbnama by Firdausi, Abu al-Qasim, of T\is. 1246/1830-31. (P.3916) 111.66 Divan of l;iafi:i;, Shams al-Din Mulµmmad, of Shiraz. 1247/1831. (P.3296) 111.67 Shahnama by Firdausi, Abu al-Qasim, of TUs. 1254/1838-39, with miniatures probably painted in Kashmir, 1860-80. (P.3918) 111.68 Khamsa by Ni:i;:'imi, Ni:i;:'im al-Din Abu MuI:iammad llyas ibn Yusuf, of Ganja. 1259/1843. (P.3947) 111.69 /skandarnama by Ni:i;:'imi, Ni:i;:'im al-Din Abu Mul).ammad llyas ibn Yusuf, of Ganja. Ca. 1825-50 (P.3948) 111.70 Sbilbnama by Firdausi, Abu al-Qasim, of Tiis. Ca. 1840-50. (P.3915) 111.71 Sbuja '-i lfaydari by Mulµmmad l;Iaydar. Ca. 1850. (P.2439)

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147 148 149 150 153 1S4 155 155 157 158 158 158 159

161 162 162 163 164 165 165 166 166

CONTENTS

lli.72 Kbamsa by Ni.¥imi, N~m al-Din Abu Mu~d lly.is ibn Yusuf, of Ganja. Ca. 1850. (P.3950) lli.73 Shrimadbhagavata Purana by Vy.isa. Ca. 1850. (H.21-33) 111.74 'Aja'ib a/-makb/Uqal by Fakhr al-Din l:lamu ibn 'Abd al-Malik al-Tusi al-Bayhaqi al-Sabzavari. 1850-1900. (P.4144)

167 168 169

MISCELLANEOUS 111.75 Bara Mi.Isa. by Keshavdasa. First half of the twentieth century. (H.6)

169

Persian Manuecripts, fomUenth..olrw:tunth oenturies

171

HERAT

IV.l )amt' al-tavarikh by Rashid al-Din FaQl-Allah. Possibly copied in the mid-fourteenth century, with miniature cycle augmented and overpainted in Herat, 1470-90, and at the Mughal court, 1590-95. (P .1820) IV.2 Kalila va Dtmna by Abu al-Ma'ali N~r-Allah. 1500-10. (P.2982) IV.3 BUstiln by Sa'di, Abu 'Abd-Allih Musharrif al-Din ibn Mw;Jil:i. of Shiraz. 927/ 1521. (P.4070) IV.4 Muntakhab-i lfaaiqat al-i?aqlqa by Sana'i, Abu al-Majd Majdud ibn Adam, al-Ghaznavi. 977/ 1569. (P.3932)

171

179 182 182

BUKHARA IV.5 Tuqfat al-al1rar by Jami, Nur al-Din 'Abd al-Ral)man. 978/1570-71. (P.4167)

183

TABRIZ

IV.6 IV.7 IV.8 IV.9

BUstiln by Sa'di, Abu 'Abd-Allah Musharrif al-Din ibn Mw;liJ:i, of Shiraz. Ca. 1525. (P.4169) Guy va chaugan or lfa/nama by

'A.rift, Ma):unud, of Shiraz. Ca. 1530. (P.4139)

Mthr va Mushtari by '~r, Shams al-Din Mu~d Tabrizi. 944/1537. (P.4126) Divan of Fatta.l).i, Yal:lya Sibak, of Nishapur, 909/1503, with miniatures added ca. 1530-40. (P.4137)

184 184 185 185

SHIRAZ IV.10 Majmu 'a-yt ash'ar. Ca. 1410. aold) P.742) IV.11 Kbamsa by Maulana '~i. 833/1429-30. (P.4133-35) IV.12 Kbamsa by Amir Khusrau Dihlavi, Yamin al-Din Abu al-I;iasan ibn Amir Sayf al-Din La.chin Turk. 855/ 1451. (P.4101) IV.13 Kbavarannama by Mu~d ibn l;iusam al-Din al-Quhistani, known as Ibn-i l;iusam. Ca. 1450-75, with some miniatures added in India in the second half of the fifteenth century. (P.4149-50) IV.14 SUta by 'Anar, Farid al-Din Abu l;iimid Mu~d ibn Ibrahim N"IShapuri, Ca. 1485-1500. (P.3997) IV.15 Khamsa by Ni2;imi, Ni~m al-Din Abu Mut:ianunad Uy.is ibn Yusuf, of Ganja. Ca. 1535-45. (P.3943) IV.16 Kulltyil.t by Sa'di, Abii 'Abd-Allah Musharrif al-Din ibn MWilil:i, of Shiraz. 938/1532. (P.3224) IV.17 Kbamsa by Ni2;imi, Ni~m al-Din Abu Mu~d Ilyis ibn Yiisuf, of Ganja. 949/1542. (P.3941) IV.18 ~-t Amir Aqmad va Mabtsti. 1540-50. (P.3045) IV.19 Mthr va Mushtari by ·~r. Shams al-Din Mul)ammad Tabrizi. 1540-60. (P.4128) IV.20 Mthr va Mushtari by ·~r. Shams al-Din Mul)ammad Tabrizi. Ca. 1560. (P.4127) IV.21 Mafalts al-'ushshaq by Sultan l;iusayn, Kamal al-Din ibn Sulian Mall$iir ibn Mirza Bayqara ibn Mirza 'Umar Shaykh ibn Amir Timiir Gurgaru. Ca. 1580. (P.2295) IV.22 Kbusrau va Shirin by Ni2;imi, Ni~m al-Din Abii Mu~d Ilyis ibn Yusuf, of Ganga. 995/ 1587, with miniatures added in Shiraz, ca. 1600-25. (P.3942) IV.23 Kulltyil.t by 'Urfi, Kamal al-Din Mut:iammad ibn Zayn al-Din 'Ali, of Shiraz. Ca. 1570. (P.3401) IV.24 Kbamsa by Ni.¥imi, Ni~m al-Din Abu Mul)ammad llyis ibn Yiisuf, of Ganja. 1014/ 16o6. (P.3944) IV.25 Sbtlhnama by Firdausi, Abu al-Qisim, of Tiis. Early seventeenth century. (P.3913)

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186 187 189 190

191 192 193 194 196 196 197 197 201 201 202 203

MUGHAL AND PERSIAN PAINllNGS AND ILLUsraATED MANUSCRIPTS IN THE RAZA LIBRARY, RAMPUR

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IV.26 Kbamsa by Amir Khusrau Dihlavi, Yamin al-Din Abu al-f:iasan ibn Amir Sayf al-Din Lichin Turk. 977/157I in a swing surrounded by seven ladies. Ragamalii. Lucknow, ca. 1790-1800. Album 6, fol. 12a. Pl 66. The nlgtnt Kedir.i represented as a devotee before a Shaivite siidbu. Ragamii/a. Lucknow, ca. 17901800. Album 6, fol. 22a. Pl 67. Four ladies in European costume. Lucknow, nineteenth century. Album 7, fol. 4b. PL 68. A mabant with his arms raised in selfmortification and a youth whose feet are in an exaggerated yogi position. Company style, nineteenth century. Album 7, fol. I6b. Pl 69. A young man helps his beloved adjust her veil. Lucknow, nineteenth century. Album 8, fol. 24b. PL 70. Khan Daurin Khan and a hunting party. Deccan, ca. 1725. Album 9, fol. lb. PL 71. Sulayman and Bilqis with demons and angels. Farrukhabad, ca. 1760-70. Album 9, fol. 2b. PL 72. Bust portraits of Niir Jahan and Jahangir. Delhi, first half of the nineteenth century (left) and Mughal, 1620-23 (right). Album 9, fol. 3b. Pl 73. A symbolic portrait of Aurangzeb standing on a globe. Mughal, third-quarter of the seventeenth century. Album 9, fol. Sb. PL 74. An equestrian and his party encounter a group of women bathing. Rajasthan, Kishangarh(?), mideighteenth century. Album 9, fol. 9b. Pl. 75. A couple seated in a garden (detail). Rajasthan, Bikaner(?), ca. 1700. Album 9, fol. lOb. PL 76. A standing child holds a spray of white flowers. Mughal, 1635-50 with later additions. Album 9, fol. 13b. Pl. 77. Women watch an approaching storm marking the beginning of monsoon, by Ghulam Ri"al lovers drinking wine under an awning in a walled g.irden, with female musicians and courtiers. Mughal, 1595-16o5. The dimensions of this painting and of the painting on folio lOa of Album 1, are almost the same, and the

rrom UNIVERSITY OF MICHIGAN ~ Ung1na1

ALBUM 1

19

two works may come from a common manuscript (as suggested by John Seyller, personal communique, August 1995). It is probable that the woman on the first folio represents Queen Shirin, for except for her, crowned women are ususual in late Akbari miniatures. Thus the minature was probably taken from a copy of one of the books of Niµmi's Kbamsa, Kbusrau va Shirin. Seyller suggests that it was painted by Manohar. The figures have the highly modeled faces for which Manohar is renowned; the pavilion is rendered in perspective, another device often found in his paintings, and there is a water wheel in the background, as appears in two paintings by him in a copy of Amir Khsrau's Khamsa in the Walters Art Gallery, Baltimore (W.624). Fol 10a (2o6 x 125 mm; pl. 9). A young man and his companion who holds a harp, seated in a pavilion in a garden sunounded by members of the harem. In the background is a water tank and a pair of oxen. Misidentifed by a later Persian inscription at the top as a picture of Jahangir Badshah. Mughal, 1595-16o5. Seyller (personal communique, August 1995) suggests this painting gives a represention of Bahrim Gur and one of his wives, and is by the painter Madhu. Madhu also worked on the Bodleian Library Bahanstan of Jami and the Walters Kbamsa by Amir Khusrau Dihlavi. It is probably from the same manuscript as folio 9a, supra. Fol Ila (151 x 100 mm). A drawing with color, of Amir l:famza, the uncle of the Prophet Mul:iammad, kneeling, his head surrounded by an elaborate rayed nimbus. An inscription above the painting reads "Portrait of l:laQ.rat Amir I;lamza". Mughal, first half of the nineteenth century. Fol 12a (120 x 95 mm). A young animal trainer with a bear and a monkey. Rubbed around the edges. Mughal, ca. 1800. There are several Mughal paintings and copies of Mughal paintings with related subject matter. A seventeenth-century picture of a dervish leading a bear and a nineteenth-century copy of it are in the Kevorkian Album, Metropolitan Museum (Welch, Schinunel. et al., The Emperors' Album: Images of Mugha/ India, pis. 76 and 96). A picture of a bear and its trainer is in the Wantage Album, Victoria and Albert Museum, London (Clarke, Indian Drawings: Thirty Mughal Paintings, pl. 3). See al.so infra, Album 9, fol. 30b (top). Fol 13a (202 x 144 mm; pl. 10). A young man wearing a striped Jama accompanied by a retainer talks with a ~i, who sits with a young student in front of a hut with an overhanging straw roof. The album page has a border of staggered white flowers on a gold waterpanemed background. Mughal, mid-seventeenth century. The yogi can be identified as the Vaishnavite reformer and teacher Baba Lal Das Vairagi by comparison with a reliably ascribed portrait of him in the Victoria and Albert Museum (IS 94-1965; Guy and Swallow, Arls of India: 1550-1900, p . 93, no. 71). In this painting, Baba

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Lal sits in the foreground, the second figure from the right, and his name is written below his arm (as read by Gadon, "Dara Shikuh's Mystical Vision of Hindu-Muslim Synthesis", p. 155, no. 10). Baba Lal was a spiritual adviser to Prince Dara Shikoh, who can then be identified as the young man who sits opposite him in the Raza Library painting. The conversations between the Prince and Baba Lal, in the form of questions and answers, were recorded by Dara Shikoh in his book, Muktllama-1 Baba Lal va Dilra Shlkoh. Why Dara Shikoh should be wearing a Jama that overlaps in the Hindu manner, and is secured under his left arm, is not known (perhaps the Raza Library painting is a mirror image of another work). Fol 14a (153 x 108 mm; pl. 11). A drawing of a seated nobleman, identified by an ascription as a portrait of Bichitr Khan. Mughal, third quarter of the seventeenth century: Fol 1Sa (130 x 145 mm; pl. 12). A seated nobleman holds the stem of a water pipe and faces a seated child on the right. An older courtier is seated behind him, on the left. An ascription at the top reads shabih-1 Nawwab 'Umdat al-Mulk, and below, in a later hand, is written Shaykh Nawwilb 'Umdat al-Mu/k, in which "shabtb" has been mistaken for "sbaykh". In the side margin is written: $anat-I Bhawani Dils m~war yagana mani-1 l'Uzgar ("work of Bhavani Das, the painter, the unique Mani of the time"). Kishangarh, ca. 1725. Bhavani Das was a painter trained at the Mughal court in the first quarter of the eighteenth century who received patronage from Raj Singh of Kishangarh, and subsequently became a seminal artist in the development of Kishangarh painting style. He worked in two different styles. The earlier is typified by a signed painting of the sons and two grandsons of Shah Jahin of ca. 1700-15 in the San Diego Museum of Art (formerly collection of Edwin Binnery, 3rd; Indian Miniature Palnltngfrom the Collection of Edwin Blnnery, 3rd: 1be Mugbal and Deccant Schools, p. 93, cat. no. 68). The second style, in which portraits of his patron and other Kishangarh nobles standing in profile with noticeably inflated chests are typical, has been discussed by Falk ("The Kishangarh Artist Bhavani Das", Arttbus Aslae 52, 1/2 [1992D. The Raza Library picture is most closely related to an unsigned portrait of Raja Bairisal, a Rathor prince of Ratlam in a private collection, London (as kindly brought to my attention by Navina Haidar; we thank her for kindly letting us read her unpublished article on Bhavani Das, in September 1999). Bhavani Das is mentioned in the payrolls of the Kishangarh court; he worked with his son Dal Chand (see Leaves, Acc. no. 33) and nephew Kalyan Das. A second artist of this name, a native of Patna, went to Calcutta where he made natural history drawings for Lady Impey (Falk and M. Archer, Indian Mtniatures in the India Office library, p. 215; M. Archer, Natuml History Drawtngs In the India Office Ltbrary, pp. 19 and 87).

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2 A fr. .or:ot of Tmjw-4 Slrr Ill •••Iii• (•A

Tramladon of 'The Hidden Secret'"); the ori1tn•• Arabic, attributed to Fakhr al-Din Muhammad Ibo 'Umar al-Rizi (cl. 6o6/1209), w.. ttamlated Into Pltnlao by an uoknmvn wrba at the order of the l1114in of Delhi, Shams al-Din Dtu•miab {Jo. 1211-35) and dcdicl'ted to him and to bis 900 AbO al-Biritb Rnlm al-Din Firiizfhib 16

foll~.

455 x 300 mm.

Copied and illustrated ca. 1580 probably in Delhi.

p, ow1111_. Formerly in the collection of i.¢ of Daula, Nawwab of Awadh; his seal dated 1190/1776-77. Purchased from Sayyid Wajid l:fusayn, a book dealer of Lucknow, October 16 1902. The Arabic al-Sirr aJ-maildi:4m ft multbatabal aJ-nufam ("The Hidden Secret in the Address of Stars") is a work on magic and talismans connected to the twelve signs of the zodiac and to the thirty degrees Into which each sign is further divided (Storey, Persian Literature, .A Blobtbltograpblcal Survey a, pt. 1 119581: 49-50 and a, pt. 3 11977]: 351, 459, and 490). The correct title of the Raza Library manuscript was first published in 1986 by Francis Richard ("Une page du recueil de talismans et de signes zodiac aus d 'Akbar dans la collection Gentil", pp. 11617). The author Fakhr al-Din Mu.lµmmad ibn 'Umar alRazi was a Persian theologian born in Rayy in 1149. He is con signed numerous scientific treatises o n occult sciences - on physiognomy, astrology, geomancy, the interpretation of dreams and on talismanic magic (Vesel, "The Persian Translation of Fakhr al-Din Rizi's al-Slrr aJMaltUm ", p . 15). The sixteen large fo~ of the Raza Library fraguient include seven full-page paintin~ of signs of the zodiacGemini, Cancer, Leo, Scorpio, Sagittarius, Virgo, and Aquarius - measuring 420 x 270 mm, and twenty-five pages each with six representations of talismans and their captions (150 smaller paintin~). The captions are written in nasta •riq on separate strips of paper and pasted above the small images. The Information on these captions is also sometimes visible on the lower edge of the painting, where it probably served as a guide to the artists. The inscriptions have five parts: a number from one to thirty (the day of the month) written in both Arabic numerals and ajadletters, the subject of the painting, a magic word, ing.r edients for a burnt offering (bullbur), and the pu~ or desired result of the speU. For example, on folio 2a, the caption for a picture showing an ox includes the number 16 (for the sixteenth day ofThaur), the subject of the painting ("an ox with a wound on its back"), a magic word ( amulul), an ingredient for making the talisman

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("the tail of a rat"), and the effect desired ("helps you In obeying God and being in awe of Him, and removes aU kinds of fears for you"). Sometimes the word nusltba ("prescription" or "recipe") appears above the beginning of that section of the caption. Large seals on folios _2b, 3a, 5a, 7a, ~. 13a, and 15b, read Varir al-Mamii/Ut ~/al-Dau/a ~IJab Yaqya Khan Babildur Htztbr fang and the date 1190/1776-77. Asar al-Daula was the Nawwab of Awadh, ruling from Lucknow (r. 1775-97). The same seal imprint appears on all but one folio of the PM.sbilbnama in the Royal Library, Windsor Castle (Beach and Koch, King oftbe World: Tbe Padsbabnama, .An Imperial Mugbal Manuscriptfrom tbe Royal Ltbrary, Windsor Castle, p . 158, fig. 67). Independent confirmation of an Awadhi provenance for the Raza Library manuscript is provided by a fragnient of the Tarjama-t Strr al-malltum in the Biblioth~que Nationale Paris, as it was collected by Colonel Gentil who was in Faizabad and Lucknow during the reign of ~ alDaula 's father Shuja' al-Daula, In 1765 (Estampes Res., Od 514', fol. 21; Okada, and Richard, A la Courau Grand Mogbol, pp. 155-56). The Tarjama-t Strr al-maildi:4m was one of eleven manuscripts (D. 1352-62) in Arabic and Persian purchased on October 16, 1902 from Sayyid Wajid l;lusayn, a Lakhnavi dealer in old books. The title given for the folios in the Raza Library registry is Naqsba-1 llurab-1 samiivi qalami ("The Map of Heaven's Globe, Handwritten"). It was purchased for 100 rupees; the total price of all eleven volumes was 142 rupees. The subject of most of the manuscripts in this purchase concerns talismans and magic. The purchase information was recorded by Mahdi 'Ali Khan who held the ~ of keeper of the holdin~ ( tal/Vildar) in the library at this time. The paintin~ are executed on paper which has been pasted to both sides of a coarse muslin (cbautar) . The same type of reinforcement was used for the large foll~ of the lfamzanama. The technique is described by a contemporary writer, Qandahari (as quoted by Verma, Mugbal PalnllM and 7betr Work, p. 7). The cloch is visible on some leaves of the Tarjama-1 Slrr aJ-maildi:4m where the paper has wom off. An original foliation of the manuscript in Arabic numerals written In red ink appears on the lower left comers of the "b" sides of some foli~; the foliation would have served as a guide to the binder. Today only twelve of the sixteen folios of the Rampur manuscript have red foliation, and we summarize the Information in Chart l. In the Raza Library fragrrient there is one continuous section of four leaves of the sixteenth-century manuscript (fols. 1()..13). From this sequence we learn that a fuU page illustration of one of the signs of the zodiac is followed by two and a half folios (five pages) of small illustrations, which are equal to 30 small illustrations (five pages with six pictures each); another full-page illustration follows these small illustrations. The Raza Library sequence Includes a large illustration of Sarafiln (Cancer), thirty

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small paintings, and a large illustration of Asad (Leo). As Cancer and Leo are tangential signs of the zodiac, we may infer that the original manuscript consisted of twelve large representations of the signs of the zodiac, in their normal sequence beginning with /:famal(.Aries), interspersed by twelve sets of thirty small paintings with captions. From this information we can reconsuuct the original program of the Raza Library manuscript. In Chart II, the four unnumbered leaves in the Raza Library are put in their proper sequence and their missing folio numbers are given in parentheses; the subjects of the large illustrations that are not in the Rampur manuscript are furnished as well. Chan / Folta/ions ofAlbum 2

Modem foliation

Sixteenth-century foliation

lb 2b

2

6

3b 24 10 11

4b

5b 6b 7b Sb

12

13

9b

16

lOb llb 12b

20

13b 14b

25

15b

30

16b

31

CIHarf I I 1be Original Sequence ofFolios in Tarjama-i Strr al-maktUm Old foliation

Modem foliation

Subjects of large illustrations on side "b" /:famal (Aries)

l(b).

2. 3. 4. 5. 6.

2

7.

(3)

Taw'am (Gemini)

5

Sara(an (Cancer)

1 1baur (Taurus)

8.

9. 10. 11. 12.

13.

6 7 8

Asad(Leo)

9

SunbuJa (Virgo)

14. 15.

16.

01g1t1z1:J by

Go gle

17. 18. 19.

Mizan (Libra)

20. 21.

10

22. 23.

(13)

24. 25.

4

26. 27.

14 (11) (12)

'Aqrab (Scorpio)

Qaus (Sagittarius)

]ady (Capricorn)

28. 29.

30.

15

31. 32.

16

33. 34.

Dalw (Aquarius)

/:fut (Pisces)

35.

36. 37(a). A small illustration (one-sixth of a folio) from the Raza Library Tarjama-t Strr al-maklUm is in the Gentil Collection, Bibli~ue Nationale, Paris. It shows a man killing another man; the subject has been identified as the thirtieth representation of the degrees of Pisces (Richard, ·une page du rccueil de talismans", p . 116). As originally bound, the Gentil vignette would have been on folio 36b of the original text, in the lowe.r left comer. Our reconstruction controverts Beach's belief that the small paintings of the Raza Library zodiac manuscript were cut out of a (damaged) book and remounted in the fashion we see them today (Beach, Early Mugbal Painting, p. 72). The small pictures are almost surely in their original layout although a few captions are now missing. The captions too are an integral part of the manuscript. Similar narrow strips of paper, probably with illumination rather than calligraphy, where used to join the border and miniature of a large painting in the British Museum of the house of Timur and folios of the /:famzanama (Seyller, "Recycled Images: Overpainting in Early Mughal Art", p. 50). There is no published edition of Tarjama-t Strr almaklum. In our identification of the subject of the small miniatures of the Tarjama-i Sirr al-maktUm, the missing captions are supplied from a Mughal manuscript in the Bibliotheque Nationale, Paris dated 997/1587 (Suppl. persans 384; Blochet, Catalogue des manuscrlls persan II [1912), p. 142, nos. 896-97). It has been thought that the Raza Library Tarjamai Strr al-maktum was produced at Akbar's imperial workshop during the final years of work on the multivolume /:famzanama, or shortly after its completion (see Beach, Early Mugbal Patntin& p. 72; Brand and Lowry, Aklxir's India: Anfrom tbe Musbal Ctly of Victory, p. 28; and Khandalavala and Mitt.al, "An Early Akbari Illustrated

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Manuscript of Tilasm and Zodiac", pp. 12-13). If one accepts Seyller's new dating of the ljamzanama as 155772 (Seyller, "A Dated ljamzanama Illustration", Artibus Asiae 53, no. 3/ 4 11993): 502-05), the dates given to the Raza Library manuscript by these scholars are too early. Although similar typeS of figures, trees, and rocks appear in both the manuscripts - and the Raza Library miniatures may indeed be by some of the same artists who worked on the ljamzanama - the treatment of recession of space in the two manuscripts is very different. In the Hamzanama, distant vistas are effectively cut off by architecture and trees in the middle ground (see, HamzaNama Vollstandtge Wtedergabe der bekannten Blatter der Handscri.ft aus den Bestanden al/er erretcbbaren Sam mlungen. Vol. I Blatter aus dem Museum fur angewandte Kunst In Wien, and Vol. II Dte Blatter aus dem Victoria and Albert Museum London, Graz, 1974, 1982). In the Tatjama-t Strr al-maktum miniatures, on the other hand, one sees a new mastery of perspective, with new landscape motifs taken from European art vistas of distant cities and unusual pastel "lollipop" trees in blue, yellow, and pink. The use of perspective is most noticeable in large paintings (fols. 3b, pl. 13; Sb; 9b, pl. 16; and 16b, pl. 19), but occurs in some of the smaller ones as well (fol. 4a, no. 15, pl. 14). European motifs taken from European prints, such as a man wearing a pair of Grecian sandals (fol. 15b, no. 19, pl. 18), or a sick man laying on a European alcove bed (fol. 6b, no. 9, pl. 15) are also found in the Raza Library manuscript. We believe that the Tarjama-1 Strr al-maktum was probably executed after the National Museum of India's Deval-Rani Kblt!r Kban of 1568 and the Royal Asiatic Society's Anwar-i Subayli of 1570, as there is only limited recession of space in paintings in these manuscripts. The Raza Library paintings are probably contemporary with the British Library's Dilrilbnilma which is usually dated ca. 1580, and it probably dates slightly before a manuscript with related subject matter, Kttilb-1 Sil 'at of 991/ 1583 (Sotheby's, (London), Sotbeby's Sales Catalogue, 23 April 1997, lot 18). The representation of Cancer in the Kitab-t Sil'at has background architecture, hills, and trees very similar to ones in the Rampur manuscript. As one of the earliest Mughal manuscripts to exhibit knowledge of European spatial conventions, illustrations in the Raza Library Tarjama-1 Slrr al-maktum are of paramount importance for the study of the development of early Mughal painting.

Milrlatrn'es Fol la. Talismans associated with ljamal (Aries): 1. A man with a dagger. Result, kills your enemies with his dagger. 2. A man, holding a skin filled with water. Result, gives you a drink which... reverts to him. 3. A man whose face resembles the face of a dog. Result, keeps your enemy away from you through

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wild animals. The picture shows a running man with an ugly profile face and two running dogs by his side. 4. A man with the figure of a bird made of iron. Result, keeps death away from you. The man sits holding a black falcon on his right hand. Rubbed and patched. 5. A man with a drawn sword. Result, keeps you safe from weapons. The illustration show a man who has drawn a long sword from its case and holds it above his head, 6. A dead person who is stated to be standing. Result, kills your enemies. The dead person is shown as a skeleton standing in a graveyard.

Fol lb. Talismans associated with lfama/ (Aries): 7. A man holding the skin water-bag. Result, brings destruction to the kings by weapons. 8. A serpent blowing the fire. Result, brings thunder upon your enemies. · 9. A fat-tailed ram (qtkbi) looks over his back, having put its head on its back. Result, makes peace between two enemies. 10. A qtkbi with its head on its tail. Result, makes the king kind and favorable to you for whatever you do. 11. A woman with a golden falcon (bilz). Result, shows you the face of your beloved. 12. An eagle(' uqaln) sitting on a date tree. Result, (keeps you and your friends safe from the arrows of thieves).

Fol 2a. Talismans associated with 7baur(Taurus): 13. A man with a green branch of basil (rayl)an). Result, gives good name and praise to whomever you want. 14. A pigeon flying above an elephant. Result, (useful] for friendship and affection. 15. A man sitting on a donkey. Result, removes tiredness ifl the journey. 16. A bull with a sign of a wound on its waist. Result, helps you in obeying God and being in awe of Him, and removes all kinds of fears for you. 17. Two bulls plough the land. Result, this is for prosperity. 18. A man with a face from which light radiates. Result, makes ill whomever you want.

Fol 2b. Talismans associated with 7baur (Taurus): 19. A woman playing a barbat (a type of lute). Result, provides happiness and amusement, and more women for man. 20. A dog fighting with another dog. Result, provides in plenty whatever you are after. 21. Picture of a rabbit. Result, leads you to whatever you desire.

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22. The picture of black cockroaches O,anifa).

Result, disgraces whom you want. 23. A severed head. Result, shows you good in the eyes of men and women. 24. A man who has both eyes on his forehead. Result, this is for asceticism and devotion (prayer).

Fol 3a. Talismans associated with Thaur(Taurus): 25. A man holding the hairs of his beard in his hand. Result, you can show your greatness before whomever you wish. 26. A man reading the Scripture [the Quran). Result, makes you aware of the mysteries. 27. The vegetations of cultivated land. Result, this is for gain and growth. 28. A man sitting on a deer. Result, generates friendship with big men [or menials, mibta ran has both meanings) and enmity with women. 29. Lots of monkeys. Result, increases water in the well. 30. A woman holding an ewer. Result, brings pestilence and disease to whomever you want.

Fol 3b (pl. 13). Taw'am (Gemini). The twins represented as a man with two faces and one body seated under a large tree smelling a flower. A walled city sunounded by bulbous trees painted in pastel shades of blue, yellow, and pink ("lollipop trees") is on the upper left, and two deer and a peacock are in the foreground.

Fol 4a (pl. 14). Talismans associated with 'Aqrab (Scorpio): 13. A group trying to lift a fat and heavy person. Result, kills your enemy by the hands of (i.e. through) the king, and teaches you the great knowledge of elixirs ( aksir). 14. A man killed by cutting his neck. Result, disturbs the intellect and brings wisdom to a dull-minded person. 15. A dog biting [a man). Result, creates falsehood. 16. I don't know my condition except that I find myself in extreme love. Result, gives love and affection. The illustration shows a youth sitting on a porch reading from a book of poetry (safina). 17. A vulture seated on a camel. Result, the king is in the hand of [i.e. will follow) the person whom you designate. 18. The bow of an archer and its notch. Result, can damage any part of the body [of the enemy) whom you wish.

,

Fol 41>- Talismans associated with 'Aqrab(Scorpio):

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19. A man holding a cup in his hand. Result, removes idleness in any person you want. 20. A verdant land having multicolored flowers. Result, at one time gives flowers and fruits. 21. A woman holding a golden whip in her hand. Result, makes the wife of whomever you wish a widow. 22. A woman throwing stones at a wolf. Result, promotes chastity and piety among women. 23. A man wetting his clothes with water. Result, makes a miser of or denigrates whomever you want. 24. A man passing through a mire and fire. Result, showers mischief on whomever you wish.

Fol SIL Talismans associated with Taw'am(Gernini): 25. A lion sleeping. Result, keeps the enemy from harming him. 26. A man standing on the back of another man. Result, makes friendship between men. 27. A cap falling into mud and mire. Result, keeps away an epidemic/pestilence (waba'). 28. A big house. Result, brings fame to whomever you wish. 29. A fleeing man and a man and a woman sining [together). Result, it is for separation and vagrancy. 30. A man has climbed up a tall tree. Result, brings fruits in abundance.

Fol Sb. Sara('1n (Cancer). A large crab with jewelry in front of it sunounded by three small crabs. There is an empty boat in the foreground. Buildings appear in the background and the sky has both a large sun and a crescent moon.

Fol 6a. Talismans associated with Saratan(Cancer): 1. A man opens the Scripture (the Quranl.

2. 3.

4. 5. 6.

Result, whomever you wish is charged with falsehood. A man looking over his shoulder. Result, this is for acceptance of prayer. A man having grown out of light. Result, for safety and wisdom. The illustration shows a golden man with upraised right arm from whom gold, red, and blue rays emanate. A crocodile and a crab. Result, makes ill whomever you wish. A bird like a duck. Result, multiplies the birds. Little water (ab andak) Result, reduces the lifespan of whomever you wish.

Fol 6b (pl. 15). Talismans associated with Sara{iln (Cancer): 7. A donkey on its way.

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8.

9.

1O.

11. 12.

Result, gives good luck to whomever you want. An ox wale.ring a vineyard. Result, produces vines and grapes in plenty. A sick man. Result, makes ill whomever you want. 1be illustration shows a man in a European bed in an alcove surrounded by drapery. The cloth has folds and highlights rendered in European manner. A ruined ca.r avansarai. Result, destroys the affluence (n{ 'mat) of whomever you want. A boat. Result, fulfills desires. A man ho lding a whip. Result, makes you great in the eyes of chiefs.

Fol. 7a. Talis mans associated with Sara/an (Cancer): 13. A man pointing with his sword. Result, it is for obedience to the king. 14. A man sining on a big llsh. Result, makes [you) move about in a city. 15. A fish talking to the moon. Result, you will find plenty of prey at every place you like. 16. A picture of a crow. Result, destroys your enemies. 17. A woman playing o n a lute (barlJat). Result, cheerfulness and happiness. 18. The maids (kaniz) playing in water. Result, continues the affluence ( n{'mat) or wealth.

Fol. 7b. Talismans associated with Sara{an (Cancer):

19. Picture of a flute ( nay).

20. 21.

22.

23.

24.

Result, produces weakness of heart and fear. In the illustration a very large horn has been substituted for a flute. A man walking quickly. Result, it is for .. . [text missing). Strewn (rikbta) wheat. Result, ruins the buildings of the residents of every city you wish. A waterfall. Result, produces gold and water, to whomever you want. A saddle-horse. Result, removes jealousy from whomever you want. Illus., Nath and Khandalavala, "Illustrated Islamic Manuscripts", p. 47, fig. 15. A naked man. Result, gives nourishment (ab dabad) to whomever you wish.

Fol. Sa. Talis mans associated w ith Sara/an (Cancer):

26. A slaughtered camel. Result, renders helpless whomever you wish. 27. A man sitli.ng on a serpent. Result, Lifts you up into the air (bar darad turii dar bawaJ. In the illustration a man dressed in a tiger skin is riding a huge serpent. 28. A man weeping in a vault/cupola (qubba). Result, removes the rancour o f the entire creation from you. 29. A woman sitli.ng on a throne ( takbl) made of lead. Result, removes headaches and backaches, and increases sensuality. The lead throne is here gilded. 30. Picture of a city. Result, gives landed property, estate ('aqarat) in patrimony (mirtilb).

FoL Sb. Asad (Leo). A man pointing to the sun surrounded by a fabulous lion with flames emitting from its body, a lion, four pairs of animals of the cat family, and a pair of rabbits.

Fol 9L Talismans associated with Asad (Leo): 25. A man with a large key. Result, makes difficult jobs easy. The picture shows a man with a large key in front of a door. 26. A man whipping another man. Result, creates illness and misery. 27. A man with two heads and having both feet of iron. Result, keeps one safe from criticism and unnecessary effort; some say just the reverse of this. 28. A woman going to a hot bath. Result, clears away debts. 29. A man throwing dust on his head. Result, provides jobs and profit. 30. A man reaping [his) harvest and planting (the grain) and throwing dust on it. Result, it is for generous men.

Fol. 9b (pl. 16). Sunbula (Virgo). The virgin represented as a woman seated in a boat rowed by a youth. One clearly sees the iron clamps holding the boards of the boat together. Background landscape.

Fol tOa. Talismans associated with Kazan (Libra): I. A man holding a hunting spear.

2.

3. 4.

5.

25. A tree on which a bird is sitli.ng. Result, produces manliness and bravery.

Dig zed I y

Go gle

6.

Result, sends wind upon whomever you wish. A man holding a large black serpent in his hands. Result, makes your enemy your prisoner. A man with two faces. Result, raises the position of whomever you want. Picture of a vulture. Result, makes you wise of buried treasures. A man holding a bird in his hand. Result, birds will become familiar with you. A man with a ring made of iron. 0119 na f"'on

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Result, preserves your wealth for you and your son.

Fol IOb. Talismans associated with M"IZOn (Libra).

7. 8.

9. 10. 11.

12.

Illus., Nath and Khandalavala, "Illustrated Islamic Manuscripts", p. 45, fig. 8. A man looking at his own figure and weeping. Result, keeps actions secret from the government A woman weeping for her husband and his dead body is flung in front of her. Result, it is for the friendship of women for men. Half the body of a man. Result, reduces the wealth of whomever you wish. A man holding a balance in his hand. Result, it is for love of justice. A man known for piety. Result, it is for bliss and happiness (sa 'adat). A man uttering meaningless words. Result, makes the person he chooses a liar.

Fol lla. Talismans associated with Qaus (Sagittarius): 1. Different bodies (tanba-t mukbtaltj). Result, it is for separation between persons. Illustrated as two devs. 2. A man sitting on a horse and shooting an arrow [over his shoulder]. Result, his trick has overtaken the entire world. 3. A man with a spear in his Oeft) hand and putting [his) right hand on [his) neck. Result, yields honour and the slaves rise in rebellion against their masters. 4. A man having two horns [on his head). Result, whomever you wish becomes a hard-fighter. 5. A cow with the ends of lits) horns [made) of iron. Result, it is for intensity of strength. 6. A crooked figure ($Urat-i kazb). Result, it is for creating enmity and separation.

Fol llb. Talismans associated with Qaus (Sagittarius): 7. A big fish and a man with a spear in his hand piercing it therewith. Brings tremors to whatever cities you want. The picture shows a man spear f15hing. 8. A burning fire. Result, makes decrepit whomever you want. 9. Gold, silver, and copper. Result, gives you fine jewels. The painting is in poor condition but one can see a porch with golden bowls in the foreground. 10. A boat in which monkeys (ouzagan) are seated. Result, creates much baseness in any city you like. One half of the illustration is missing. 11. A high mound and a man sitting in a chair on top of it. Result, for the stability of the kingdom for the sons. 12. A man pointing out something and you think that he is saying something.

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Result, verifies (something) although it is wrong. Three-quarters of the illustration is missing.

Fol. 12a. Talismans associated with Qaus (Sagittarius): 13. I see nothing except what I see in a dre-am. Result, makes the dream come true. Illustrated by a sleeping man. 14. A man with his mouth covered by a scarf riding a camel. Result, makes one physically powerful and sexually active. 15. I see something and it gives pains to my body. Result, brings separation and necessitates a journey. One-third of the picture is missing. 16. Many beautiful colors. Result, yields forbearance, patience, and suppressing anger. 17. A man holding a sparrow (farasbtu), but here he holds a letter. Result, makes blind whomever you want. One-half of the picture is missing, 18. A house of fire and a house of light. Result, makes whomever you like cold (sard). A picture of a burning house. One-third of the picture is missing.

Fol 12b. Talismans associated with Qaus (Sagittarius): 19. A man teaches something to another and I do not know what it is. Result, it is for kindness. Picture of a man and his srudent seated together. The right side of the picture is missing. 20. A man holding in his hand the testicles of a horse. Result, makes the vegetation, field and the garden green whenever you wish. 21. A cap of gold. Result, changes these. The right half of the picture is missing. 22. A man cuts the throat of another man. Result, kills the enemy without any effort. One-third of the painting is missing. 23. A man looking for another man. Result, sends the army against your enemy. 24. A woman is calling herself (kbisbtan). Result, makes women friends of men. Three-quarters of the picture are missing,

Fol 13a. Talismans associated with M"IZOn (Libra): 25. A man [seated) on a stone (and heating something in a fire). Result, yields bravery and subjugation of enemies. 26. A man with a shaved head. Result, frightens whomever you wish. 27. A man carrying stones wrapped in cloth on his stomach.

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Result, creates satisfaction in whomever you wish. 28. A wounded man, bleeding. Result, puts fear and awe in whomever you want. 29. There is some danger of the gallows. Result, frightens whomever you wish. 30. A man watering his vineyard and another man doing some work on the land. Result, habitates that place which you desire.

Fol 13b. 'Aqrab (Scorpio). A circle of excited men look at three huge scorpions on a hillside. There is a town in the upper center and above it, a sun with golden rays.

Fol 14a. Talismans associated with 'Aqrab (Scorpio): 25. I hear a voice but I see no one. l{esult, gives high position and happiness from the kings. The picture shows a man with his hand to his ear listening. 26. Two different bodies. Result, it is for separation and enmity. Represented by two devs. 27. A man with a beautiful face holding up both his hands. Result, multiplies your wealth and does not decrease it. 28. Birds of many colors singing. Result, teaches you wisdom and mysteries of knowledge. 29. A man who is holding a hoe in his hand tilling the land and taking out the stones. Result, imparts gain in the end. 30. A ram with two heads. Result, it is for bringing out the treasures.

Fol 14b (pl. 17). Qaus (Sagittarius). The archer, is represented by three men, one in the center testing a bow; on his left, a man kneeling and stringing a bow; and on his right , a man proffering a bow for testing. The surrounding landscape has "lollipop" trees.

Fol ISL Talismans associated withjady(Capricom): 13. A light is shining. Result, have whomever you desire. Pictured as five sinuous golden clouds. 14. A man is eating the flesh of a man. Result, carries compulsion (jabr) and evil for whomever you wish. Pictured as a grotesque man dressed in an animal skin coat who has dismembered his enemy and eats him. IS. Two women whose urine has stopped. Result, it is for love and kindness. 16. A man with a sword is looking for a man. Result, creates malice and hypocrisy for whomever you want.

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17. A man with a flute held in his mouth and a drum (tab/) in his hand. Result, makes whomever you want deaf and dumb. The flute is pictured as a horn, as in fol. 7b, no. 19. 18. A man standing on a dome (qubba). Result, causes the death of whomever you want and gives life to whomever you want [i.e. allows whomever you wish to remain]. Pictured as a man at a window of a domed square shrine, a type of structure sometimes called by the name of its principal feature, the dome.

Fol ISb (pl. 18). Talismans associated with jady (Capricorn): 19. A man holding the head of a drunkard and a dagger. Result, makes stronger whichever country you want. ln the picture, the warrior wears Roman sandals. 20. A man holding in his hand the head of an old woman and a hunting spear. Result, kills the person whom you want by drowning or by a blow on the head. 21. A man is calling someone, and taking breath in the cold wind. Result, it is for killing of kings. The picture shows a man kneeling on a platfonn with his right hand raised and his foref'mger pointing to heaven. 22. A man having many faces like fairies. Result, creates fraud, deceit, and discord. 23. A man offering prayers with a group of people in a hot bath. Result, gives chastity as fruits to whomever you wish. 24. A man standing on a high mound. Result, manifests strange things.

Fol 16&. Talismans associated withjady(Capricom): 25. A man holding in his hand a jug containing pure water. Result, keeps serious diseases away. 26. Two men are wrestling and one of them is doubleheaded. Result, patience helps against calamity. 27. A man is standing on a pulpit (mtmbar) and holds a sword in his hand. Result, fulfills your desires and destroys your enemies. 28. A man standing with a key in hand opens a door. Result, produces understanding and science of arithmetic. 29. A standing man holds a sword and a [severed) head. Result, creates enmity between any two persons you wish. 30. A standing man hold~ a sword. Result, destroys your enemies and makes their kingdom disappear (i.e. ruins their kingdom).

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FoL t 6b (pl. 19). .Dalw(Aquarius). The water carrier represented as a youth with a large golden pot containing a plant balanced on his head in front of a young prince who sits under an awning. A ring of the prince's retainers surrounds the youth. A female mystic walks in the background. There are "loUipop" trees.

Blbllograplly: Khandalavala and Mittal, •An Early Akbari IUustrated Manuscript of Tilasm and Zodiac", La/U Kala 14 (19651: 9-20, 35 illus. Pramod Chandra, 'lbe TUfiniima oftbe Cleueland Museum ofArt and tbe Orlgfns ofMugbal Pafntfng 11976], pis. 43-44. Nath and Khandalavala ,

"Illustrated Islamic Manuscripts" in Doshi and K.handalavala, eds, Age ofsplendour - Islamic Art in India 119831, p. 39, figs. 8 and 15. Okada and Richard, A la cour du grand mogbol 119861, pp. 155-56, no. 138. Richard, "Une page du recueil de talismans et de signes zodiacaux d 'Akbar dans la collection Gentil", Arts Asfatiques 41 119861: 116-17. Brand and Lowry, Akbtir'.f India 119861. p . 28. fig. 1. Beach, F.arly M ugbal Palntfng 119871, p p . 7274, fig. 49. Verma, M UIJbal Painters and 'lbefr Work[1994J, p. 419 (under the title Kuab a/-SQ'at). Vesel, "The Persian Translation of Fakhr al-Din Razi's al-Sfrr al-Maktilm ("The Occult Secret") for lltutm.ish ·, Confluence of Cultures, ed. F. Delvoye 119941, pp. 14-22.

• 3 Mnslvol, Dcn-ani, Rajasth•ol, Persian, and 8ukbaran JMlndop, $1Xb:CH~ centuries

30 folios, 400 x 290 mm. The miniatures are pasted to the left-hand page of an opening (side a). Calligraphies :ire o n all right-hand folios (side b; they are not catalogued). There is no accession information.

P1111d11W• Fol la (26o x 175 mm; painting, 220 x 98 mm; pl. 20). An album page with three parts: on the left, a picture of a youth holding a falcon; on the right, ten lines of a gbazal; and, below, a line of verse written in large nasta'liq(which continues on fol. l b). The standing youth, wearin g a Central Asian turban of the period of Babur and holding a hunting falcon, has the body proponions and costume popular in Persia in the late sixteenth century. The hard outlines of the face suggest that this Safavid theme was copied in India during the eighteenth century. A seal ('fl the painting reads: 'abdubu Mu}?ammad Tabfr lfusayni 4 [regnal year, of A}:unad Shah) 1164 (1750-51). Fol 2a (257 x 165 mm; miniature, 165 x 107 mm; pl. 21). A Persian miniature, the left side of a double-page com positio n , in an illuminated frame, showing the preparation of food o ut-of-Ooors. Presu mably the missing right side of the composition included the figure of a prince

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and his retainers. Double-page miniatures with illuminated borders are o ften found at the beginning and end of Persian manuscripts during the second half of the s ixteenth centu.ry. An inscription pasted to the page gives the name l:f:ifi; Shirazi, and possibly the miniature was once part of a copy of his Divan . Probably from Qazwin, 1565-75. Pol :Ja (70 x 142 mm; pl. 22). A reclining woman having her foot massaged by a servant. The background is covered w ith gold floral motifs. Probably from Bukhara, early seventeenth century. Fol 4a (140 x 115 mm). A king drinking wine and enjoyin g music in front of a pavilion with painted decoration surrounded by a tent wall. A cloth on the top of the pavilion is inscribed in cursive script, padsbab-f kusbti ast ("he Is the king of wrestling"). As the four attendants wear small turbans with Central Asian /ltulabs, the painting was probably done for a partisan of the Afghan conqueror of India, A}:unad Shah Abdali (r. 174773) and his successors. Probably from northern India, last q uarter of the eighteenth century. PoL 5• (180 x 73 mm; pl. 23). A Persian youth standing with his arms crossed in front of his chest and wearing an unusuaUy long soft cap encircled by a scarf. This is an Indian copy of a Persian picture in the style of Ri< 70 mm; pl. 25). An album folio with a bust portrait of a youth in right profile wearing a pale purple striped fama and an elaborate turban. Although identified as a "picture of the padsbab", this is to be doubted as there is no halo around his head. Above, on a separate piece of paper, is an 'unvan in nineteenthcentury style. On the lower left there are three seals, one of them of Kifayat-Allih Khan (of Aurangzeb's time) and several inventory notices ( 'arr!Qu:las) with regnal years and names (now blurred). On the verso (fol. IOb) is a calligraphy surrounded by a border decorated with angels, in nineteenth-century style. The portrait, Deccan, late seventeenth-early eighteenth century. Fol Ila (185 >< 116 mm). A drawing of a prince hunting w ild boar with the colored head of jahangir superimposed on the figure. The sketch also has green coloring on hats and red blood on a dead dog. Nineteenthcentury copying Mughal style of ca. 16oo. Fol 12a (230 >< 163 mm; pl. 26). A very fine painting of Prince Salim (the future Jahangir; r. 1605-27), wearing a pale orange robe with pale green trim and with a falcon on his arm, riding to hunt accompanied by retainers. The equestrian is identified as Nur al-Din Jahangir on the mat below the painting, and the name Shah Salim is written on the upper right of the painting. Mughal, ca. 160o-05. Fol 13a (192 >< 108 mm; picture, 100 >< 44 mm; pl. 27). An album page with a standing female European saint holding a book on the upper left, eight hemistichs of poetry written diagonally on the right, and beneath the picture, five lines of nasta 'liq. The blue floral border has four hemistichs of poetry in large nasta'fiq. The saint is probably a copy of a European engraving, rendered in grey, imitating grisaille, and gold. It is ascribed, ' amal-i Asi, Qabar. The artist is possibly to be identified with an artist named Asi Kahar (kabar is Hindi, meaning the palanquin-bearer) who was active at the Mughal court and worked on the Jaipur Razmnama (Verma, Mugbal Painters, pp. 69-71). Mughal, ca. 1600, or possibly Deccani and several decades later. Fol 14a (102 >< 63 mm; pl. 28). A fine portrait of a very short prince holding a falcon o n a dark green background. He is probably one of the sons of jahangir. Mughal, 1620s. jahangir gives the names and birth of his six children at the beginning of the jabangirnama: Khusrau, born in Akbar's thirty-second regnal year; Parviz, in Akbar's thirtyfourth regnal year; Bihir B:inu Begam; Sultan Khurram, in Akbar's thirty-sixth regnal year; and Jahand:ir and Sha~. both born about the time of Akbar's death (1014/ 1605) (Thejabangtrnama, trans. Wheeler M. Thackston, p . 30). Among the sons, the portrait is perhaps ofShal;uyar (d. 1628; see also, tnjra, Album 13, fol. 17a, right, pl. 101).

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Fol 15a (173

>< 100 mm). A miniature, apparendy

extracted from a manuscript of a translated Sanskrit text, showing the visit of a yogi to the cave of a dev in the mountains. There are bones of animals and grazing goats in the foreground. The painting is badly rubbed but once was of very fine quality. Mughal, last quarter of the sixteenth century. Fol t6a (193 >< 145 mm). An angel playing a harp rides in a litter on the back of a composite camel (one •composed" of animals and human figures]. The work is executed in grisaille and gold, with colored flowers in the foreground and a blue sky. Probably a modem copy of a lace sixteenth-century theme. Fol 17a (156 >< 95 mm; pl. 29). A very fine drawing of 'Abd al-Ral;llm Khwaja, an emissary from thejanid ruler Imam Quli Khan (r. 1611-41) to Jahangir, by Mulµmrnad 'Abid. He wears a large turban with the distinctive Central Asian kuJab shaped like a cone, and kneels with his arms crossed in front of him. The pale green background is slightly rubbed. The ascription is on a separate piece of paper mounted above the drawing. On the border, at the bottom of the leaf, are eight seals; three of these can be read, and are, from left co right, the seals of (2) KifayatAltah Khan, (3) Qabil Khan, and (4) Fa< 105 mm; pl. 37). A standing youth wearing an elaborate brocade cape, a misunderstanding of a type of Persian coat with long sleeves worn over the shoulders, stands smelling a na11Jls (narcissus). The upper left comer of the work is missing. This is a copy of an Isfahan miniature of the early seventeenth century probably made in the Deccan, Golconda(?), in the first half of the seventeenth ce.n tury. Fol 2a (1 56 >< 98 mm; pl. 38). An unattended nobleman wearing an unusual and fanciful tutban sits on a throne ho lding a large round mirror (or flask) in which he sees his reflection. His robe is repainted dark gieen and his short-sleeved over-robe is stained. Trimmed at the bottom, and probably also o n the sides. Mughal, l 59016o5. The miniature probably comes from a manuscript of Amir Khusrau Dihlavi's A'Ina-I lsllandari ("lskandar's Mirror"), one of the books of his Kbamsa. A related miniature from a copy of this work, made in Lahore, ca. 1595-1600, is in the. Metropolitan Museum of Art, New York (13.228). Another contemporary painting in which a man holds a mirror is in the Indian Museum, Calcutta (R. 381/S.156; Niharranjan Ray, Mugbal Court Painting: .A Study In Social and Formal .Ana(ysls, pl. 5). Fol 3a (242 >< 162 mm; pl. 39). A man on horseback with his falconer and hunting dog. The ascription written above the painting, sbabib-1 ("picture of") .Amir Shaykb lfasan Nuyiin wtlli-1 JJashdild "(the ruler of Baghdad)" is probably incorrect. The same inscription appears on folio 2b, Mughal, ca. 1610. Amir Shaykh-l:fasan was a Jalayirid ruler of Baghdad who died in 776/1374. He should not be shown wearing an Uzbek turban of the sixteenth century, as does the man in the Raza Library painting. The other versions of

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this composition, in the Victoria and Albert Museum, London (l.M. 20-1925; Skelton.et al. , Indian Herllage, no. 42) and the Academy of Sciences, St. Petersburg (Ivanov et al., Al'bom lndllslttltb I perstdsJtlJtb mlniatyur, XVlXVIIvv, pl. 14), are identified as portnits of 'Abd-Allih Khan Uzbek. The Raza Library painting also, probably, represents this Shaybanid ruler of Central Asia who died in 1005/ 1596. The miniatures in the Victoria and Albert Museum and in the Academy of Sciences, St. Petersburg are both ascribed to Nadir al-Zaman (i.e ., Abu al-l:fasan). The unsigned Raza Library painting has been attributed to Govardhan by Seyller (personal communique, August 1995). There are several other copies of this painting in: the British Library, Oriental and India Office Collections (Add. album 18.80; Martin, Miniature Patntins, pl. 177); Museum of Fine Arts, Boston , formerly Goloubew Collection (14.647; Coomaraswamy, Catalogue of tbe Indian Collectton tn the Museum of Flrui .Arts, Boston, Part 6: Mugba/ Painting, p . 34, pl. 30); George P. Bickford Collection (S. Czuma, Indian .Art, no. 44); o ne published by Blochet (Les Enlumlnures des manucrits orientaux-turc, arabes persan-de la Btbllotb~que nationale, pl. 116); and one sold at Sotheby's, London (Sotbeby's Sales Catalogue, 12 December 1972, lot 198).

Publkotloll: Brown, Indian Palntins under the Mugbals (1924), pl. 9; Brown dates the painting ca. 1575. Fol 4a (186 >< 112 mm; pl. 40). Babur seated in a garden with his secretary ( munsbi) and two weapon bearers. The ascription, sbabib-1Sulµln &ibur("a portait of Sul1an Babur") is written above the picture. Mughal, early seventeenth century. An early nineteenth-ce ntury variation of this composition labeled "A picture o f Shah Tahmasp" and (falsely) ascribed to Farrukh Beg in 1030/ 1621, is in the Kevorkian Album (Freer Galery of Art, 39.47a; Welch, Schimmel, et al .. Tbe Emperors ' .Album, no. 100).

Publkatlorl.· Brown, Indian Palnttng under the Mugbals (1924), pl. 5. Gascoigne, 1be Great Mogbuls (1971 ), p . 43.

Fol Sa (173 >< 98mm; pl. 41). A ruler seated beneath an awning and served by a falconer and weapons bearer with petitioners standing before him. The subject is identified as Humayiin Padshah on the awning and on the mount above the painting, and also on the verso. However, this identificatio n cannot be correct as the man does not wear the distinctive hat o f the Humayiin period. Mughal, ca. 1600. Fol 6a ( 181 >< 115 mm; pl. 42). Maulana Rum [referring to Jalal al-Din Rumil and an aristocratic student seated in a garden; the brown background is rubbed in a few places. The identificatio n wrinen above the painting says only "Maulana Rum", and is repeated on the verso. Creased at the botto m. Attributed by us to Mulµmmad ' Ali. Mughal, ca. 1610-25.

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Stylistically, the Raza Library painting is very similar to a painting of a seated old scholar holding a book in the Museum of Fine Arts, Boston that bears an ascription to Mul)ammad ' Ali (14.663; Ze~rowski, Deccani Paintins, p. 87, 110. 65). Noc only is the rendering of the face of Maulini Rum very similar to the one in the Boston painting, suggesting that the same person served as model fo r both works, but in both paintings similar white flowers appear in the background and foreground silhouetted against a dark background. Mul)ammad 'Ali's oeuvre was most recently d iscussed by Welch, "Reflections on Mul)ammad 'Ali" 119941, pp. 407-29; see also, Beach ( 1be Grand Mogul, pp. 144 46); and Verma ( MugbaJ Painters, pp. 194-95). FoL 7a (291 >< 170 mm; pl. 43). An elopement. A miniature taken from a very fine and large manuscript, showing a young couple coyly meeting in a courtyard filled with sleeping people, their horses awaiting outside the foreground wall. Mughal, 1580s.

BxblbUlo1&: National Museum of India, New Delhi, 1981. Blbllograpby: Randhawa and Galbraith, Indian Painltng: 1be Scene, 7bemes and Legends (19651, pl. 3. Khandalavala, Islamic Heritage of India 11981), no. 155. Nath and Khandalavala, "Illustrated Islamic Manuscripts," in Doshi and Khandalavala, eds., Ase ofSplendourl1983), pl. 7. FoL 8a (300 >< 180 mm; miniature, 285 >< 170 mm; pl. 44). A folio from an Akbamama showing the young Akbar paying respects to his mother who arrives in a

liner. The painting is surrounded by its original gold border. The subject is misidentified on the verso as "Cavalcade of the Rina, the Lo rd ( ma/tit) of Chitor". Mughal, 1590s. On the fifth day after his accession to the throne, the thirteen-ye:u-old Akbar sent a delegation to Kabul to bring his mother Maryam Makani (also known as l:famida Banu Begam) and the royal begams to India. (Abu"l Fadl, 7be Akbarnama 2, pp. 30-31). Because of an insurrection at Kabul, this reunion only occurred over a year later, while Akbar was campaigning in the neighborhood of Mankot, and is described in this manner: "When the news of the chaste ladies re.iched the royal ears, H.M. the Shahinshah was delighted and sent that cupola of chastity, Maham Anaga, the mother of Adham Khin, who, on account of her abundant sense and loyalty, held a high place in the esteem of the Shiihinshiih . . . to welcome the cortege of H.M. MiriamMakani and the other chaste ladies. That cupola of chastity entered on the auspicious service of the ladies in Lahore, and after informi ng them of H.M. the Shiihinshah's eagerness to see them, proceeded with them towards the camp of fortune. H.M. the Shiihinshiih made over the charge of the siege to the Khin-Khiniin and went forward to meet the m . The auspicious conjunction took place at one stage from the Fon (Mankoc), and H.M. Miriarn-Makini's wishful eyes were

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gratified by the wo rld-adorn ing beauty of H.M. the Shiihinshiih. There were mutual rejoicings... (Abu 'l Fadl, 1be Akbamama 2, p. 86)". This fine miniature is probably from a little known third illustrated copy of the Akbamama that was written in nasltb. The manuscript is thought to have been dismembered in the nineteenth century. Two illustrations from it have been published, one in the collection of the Maharaja of Jaipur (Leigh Ashton, Art of India and Pakistan, p . 149, no. 664, pl. 127) and o ne sold by Sotheby's, London (Sotbeby's Sales Catalogue, 26 April 1991, Joe 54). .The manuscript was probably completed in the 1590s, after the Victoria and Alben Akbamama but before the Akbamana divided between the Chester Beatty Library and the British Library.

Blbllograpby: W.G. Archer, Indian Miniatures, New York Graphic Society 119601, pl. 21; he mistakenly says that the painting is in the collection of the National Museum of India, New Delhi. Similarly confused is Randhawa, Indian Miniature Painting 11981], pl. 4; he says the painting is in the Bharat Kala Bhavan, &mares Hindu University, Varanasi. FoL 9a (180 >< 95 mm; pl. 45). European man sitting beneath a tree. Inscribed, sbabib-i l!altim ltbiln ftrangi ("A portrait of the European [called) l;fakim Khin") and •l;fakim Khan · on a ~losed book; the Western letters, "x, o, y" etc., are visible on an open book. Mughal, 162040. Khandalavala believed that the painting was a portrait of Fran~ois .Bernier, a French traveler and physician who visited India in the third quarter of the seventeenth century, and left an account of his stay (Bernier, Travels In the Mogol Empire, 1656-1668; Khandalavala, Islamic Heritage of India, no. 177) . However, th.e style of the painting suggests a date before Bernier's arrival in India. There was a French physician and surgeon, Dr. Bernard, who served jahangir d uring the latter part of his reign who is possibly the llakim ltbilnftrangi. Fran9JiS Bernier mentions the earlier French doctor in his Travels: "Bernard resided at the court of faban-Guyre during the latter years of that King 's reign, and was reputed, with apparent justice, to be an excelled physician and a skillful surgeon. He enjoyed 1he favour of the Mogo/, and became his companion at table, where they often drank together to excess (Bernier, Travels in the Mogul Empire, 1656-1668, p . 274: we thank jean-Marie Lafont for his suggested identification [personal communique, January 1998))." ExblbU#of&: National Museum of India, New Delhi, 1981 . ~

Gascoigne, 1be Great Mogbuls 11971), p . 218, as "mid-seventeenth century". Khandalavala, Islamic Herl/age of India 11981), no. 177.

FoL toa (172 >< 110 mm). Jahangir, wearing a red rurban, his head surrounded by a halo with emanating golden rays, stands holding the sword of state and a key

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against a black background. The figure is identified on the mat above the painting: sbabib-1 Sbilb jabfmgir ("a portrait of Shah Jahangir"). This is a copy of a Mughal painting of ca. 1620. Mughal, nineteenth century. Fol Ila (110 x 78 mm; pl. 46). A fine and unusual portrait of Jahangir at a jbaroltba window holding a small cup. He is bare chested but wears a turban and three pearl necklaces. His head is surrounded by a golden halo. The background is painted green. The illumination above the painting dates from the twentieth century. Mughal, ca. 1620. In the ]abimgimilma there is a poignant description of Jahangir sitting at the jbaroltba in very hot weather during a visit to Ahmedabad in 1027/ 1618: "Since the inhabitants of this city are extremely weakhearted and feeble, as a precaution against any of the men from the camp entering private dwellings in aggression and tyranny or harassment of the poor and weak, and lest the cadi and chief justice show partiality or not be able to prevent oppression, from the date on which we settled in the city, I have sat every day after midday devotions, despite the severity of the heat, for two or three hours in the jharoka on the side of the river, where there is no sort of impediment like gates, walls, watchman, or guards. There, as demanded by justice, I have attended to the cries of plaintiffs and ordered oppressors punished according to their crimes and offenses. Even while I was sick, despite the great pain and ago ny, I went to the jharoka every day as usual, denying myself my needed rest" ( 7be jabangtrnama, trans. Wheeler M. Thackston, p. 264). Fol 12a (144 x 117 mm). Prince Salim, standing and holding a falcon, faces the portly Raja Man Singh who holds a long staff. The picture is tided on the upper b o rder: Sbabzada Salim kt ba 'd -1 takbtnasbini ba jabilngir Bildsbilb mulaqqab sbudand("Prince Salim who after [his) coronation adopted the tilleJahangir Padshah"). Above the head of Salim Oeft) is written in good naskb: sbabib-1 Sbab Sarun; Kar-I Qabbar ("A picture of Shah Salim; the work of Qahhar). The ascription above Min Singh's head (right) is now largely effaced. Mughal; midseventeenth century. The artist Qahhar cannot be the painter Asi Qahar who signs a second work in the Raza Library (Album 3, fol. 13a, pl. 27) as the styles are not similar. Raja Man Singh was the head of Akbar's amirs and nobles, and was the first nobleman to hold the rank of 7,000. In 1599-1600, he accompanied Prince Salim to the fi'ba of Ajmer and became his advisor. Man Singh was the maternal uncle of Prince Khusrau and preferred him to Prince Salim because Salim had revolted against his father. ButJahangir confll1Jled Min Singh's appoinunent as ruler of Bengal and he gave him his allegiance. Min Singh died in the Deccan inJahangir's ninth regnal year (Ma 'illbtr 11, pp. 48-57). FoL 13a (255 x 193 mm; pl. 47). An extremely fine painting of a Ni.µm Shahi ruler reclining on a covered takbt. Ahmednagar, 1565-95.

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The inscription above the canopy reads only N~ Shah, referrring to the rulers of Ahmednagar, a dynasty terminated by the Mughals in 1600. A second inscription below the bed has been effaced. The identification of lhe ruler has been a matter of debate. Barrett and KhandaJavala identify him as Buman II (r. 1591-95), basing their attributions on a similar portrait in the Bibl~ue nationale, Paris (Suppl. persan 1572) that includes this name (Barrett, Palnttng of the Deccan, p . 14; Doshi and KhandaJavaJa , Age of Splen< 78 mm). A man seated facing right, a book laying next to him. Identified on the mount as Sayyid MuQ.ammad Gesiidaraz. Nineteenth century. Fol 17a (M.103; 165 >< 110 mm). An unidentified dozing saint visited by a nobleman. Lucknow, late nineteenth century. Fol 18a (M.61; 118 >< 80 mm). An old man wearing a pink turban and scarf standing and leaning on his cane. Identified as l;fac;lrat Ma'riif Karkhl ("the saint known as Karkhi") "the saint of saints, famous in East and West". Prayers and a quatrain of poetry are written on the painting. Nineteenth century. Fol 19a (M.64; 246 >< 168 mm). Another copy of the assembly of six sages (a composition also found in Album 4, fol. 24a, pl. 54; Album 12, fols. 2a, 20a; and Album 14, fols. 3a, 4a). The figures are not identified on this painting. Probably Lucknow, second half of the eighteenth century. Fol 20a (M. 156; 245 >< 140 mm). An assembly of sages, as found in the miniature above, bu1 with !WO additional saints. The third figure from the right in blue robes is new as is the corresponding figure on the left side, now largely lost. The figures are not identified. Page ruined on left side. Lucknow, second half of the eighteenth century. Fol 21a (M.47; 144 >< 66 mm). A pencil drawing with gold of a standing man facing left. Identified as Shah Bii 'Ali Qalandar. This is a copy of a well-known painting of the first half of the seventeenth century in the Musee de Louvre, Paris (Stchoukine, Les miniatures indiennes, pl. 12). Shah Bu 'Ali Qalandar also appears in the •Assembly of Saints" pictures, see Album 4, fol. 24a, pl. 54. Probably nineieenth century. Fol 22a (M.92; 185 >< 116 mm). A man sitting on a terrace holding prayer beads. Identified above the painting as Niµm al-Din Auliya. Nineteenth century. Fol 23a (M.56; 280 x 168 mm). Two men with prayer beads sitting on a slriped rug in a meadow; the picture is rendered in blue, green, and while. An ascription identifies the man on the left as Shah Ghulam 'Ali Shah and the man on the righ! as ~aQib. This would seem to be a mistake of the transcriber, as Shah Ghulam •Ali Shah $al:Ub was a famous Delhi sain!. First half of the nineteenth century. Fol 24a (M.63; 97 >< 63 mm). A drawing with a colored background of Fakhr al-Din Maulavi. Ascriptions on the moun! above the painting and on the verso give the person's name; !he former is poorly w ritten. Nineieenth century. Fol 2Sa (M.86; 223 >< 158 mm). A white-bearded man holding a prayer book and tasbiJ? ("rosary"). 1he man's name once appeared in the caption but has been

~ri in a

fur-collared coat with his servant. The ascription is above the painting. Lucknow, ca. 1825. Fol 4a (M.90; 218 >< 140 mm). Soldiers visit a holy man seated beneath a tree. 1he ascription reads: •A portrait of l;fac;lrat Naushah Ganjbakhsh". Lucknow, ca. 1825. Fol. Sa (M.107; 255 >< 170 mm). A musician serenades a holy man seated on a tiger skin and holding a water pipe. The ascription reads, •A portrait of l;lac;lrat l;lusayn Shah J)hac;lha". Lucknow, ca. 1825. Fol 6a (M.108; 220 >< 140 mm). A man with his musician visits a saint; he is flanked by attendants. An ascription above the painting gives the name l;laQrat Bakhtyar Ghauthi. Lucknow, ca. 1825. Fol 7a (M.160; 173 >< 74 mm). Khi< 90 mm). A tethered piebald goat with its offspring gamboling beside it, on a darlc gxeen background. The ascription is uninformative. Company style, nineteenth century. Fol 14a (M. 163; 145 >< 115 mm). A man leads a pet black buck. Second half of the nineteenth century. Fol IS• (M. 215; 270 >< 170 mm; pl. 132). A white ram with a landscape of a village in the background. Small surface losses on the edges. Company style, first half of the nineteenth century. Fol 16& (M.117; 200 >< 165 mm). A black ram, with stylized background. Labeled, "picture of a ram (qi4cblr. First half of the twentieth century. Fol 17• (M.115; 260 x 250 mm; pl. 133). A saddled chestnut horse on a pale green background. Tom with missing sections along the. lower edge. Mughal, midseventeenth century or later. Portraits of horses similar to this one were made in the mid- and later-seventeenth century; see, for example, a picture of Dari Shikoh 's horse Oil Pasand in the British Library, Oriental and India Office Collections (Album 3, no. 1; Okada, Indian Mtntalures of tbe MugbaJ Court, p. 141 , fig. 150) and two paintings of horses from the second half of the seve nteenth century from the Bibliotheque Nation.ale, Paris (Mss. Or. Smith-Lesouef247, fols. 34v-35; Okada and Richard, A la Cour du Grand Mogbol, pp. 14041, nos. 126-27). Fol 18a (M.204; 270 x 165 mm). A butcher skins a ram. Rubbed on the upper left comer. Company style, mid-nineteenth century. Fol 19a (M.246; 150 x 110 mm). A seated graybearded man dressed in a shon green dbofi and figured pink shawl, plays with his moustache . Rubbed. First half of the twentieth century. Fol 20. (M.102; 170 >< 120 mm). Baba Nanak Shah [i.e., Guru Nanak) and his musician (Mardan.a) who holds a sttilr. The guT'U is identified by an ascription at the top of the painting. Punjabi, first half of the nineteenth century.

18 I •te Mngl••I, Deccani and Rafasth•nl patndnp 17 folios. 340 >< 255 mm. There is no accession information for pictures in this album.

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Palall1W• Fol la (135 x 80 mm; pl. 134). A woman chases a cat which menaced a parrot. Deccan, Hyderabad, late eighteenth century. Fol. 2a (130 x 90 mm) . A woman who is apprehensive about an approaching storm pulls her veil over her head Mughal, second qll21ter of the nineteenth century. Fol 3a ( l l5 >< 70 mm; pl. 135). A WOOWl with light brown hair in profile view. She wears Indian dothing and holds the stem of a water pipe; the base of the pipe has been hidden under the black overpainting of the background. Mughal, second half of the eighteenth century. Fol 4a (130 x 85 mm). A standing worn.an facing left arranges her hair. The foreground is covered by long grass. Nineteenth century. Fol Sa ( 100 x 85 mm). A standing worn.an facing left arranges her hair, a work similar to fol. 4a, supra. Nineteenth century. Fol 6a (140 x 90 mm). A European woman with auburn ringlets falling on her shoulder wears a low-cut gown that reveals her breasts. She holds a finger to her mouth and, in her other hand, a small wine cup. She sits at a window with a white marble arch overhead. Mughal, late eighteenth/nineteenth century. Fol 7• (85 x 70 mm). A European woman and her pet bird. Rajasthan, Udaipur(?), ca. 1n5. Related pictures are discussed by Andrew Topsfield, "Kelelaar's Embassy and the FamngtTheme in the An of Udaipur", pp. 350-67. Fol 8a (164 x 100 mm). A fcmale dervish, her head encircled by a golden halo and naked to the waist, drinks from a small cup as her atte ndant holds the saucer. Nineteenth century. Fol 9a ( 155 x 100 mm). A worn.an in gxeen hunting clothing and wearing a man's green turban sits playing a santur ("a stringed musical instrume nt"). Rajasthan, second half of the eighteenth century. Fol 10. (170 x 95 mm). A seated Mughal nobleman faces left holding a piece of paper. First half of the nineteenth century. Fol Ila (151) x 100 mm). A woman holds the hose of her blue and white ceramic water pipe as she sits near a stream. Nineteenth century. Fol 12a (pl. 136). Shah 'Alam who is also known as Muhammad Mu'a;i:µm [i.e., Shah 'Alam I, more usually called.Bahadur Shah, r. 1707-12) holding a turban ornament and facing right. The ascription is written in poor scrip< below the painting. Mughal, late eight~th century. This cannot be a portrait of Shah ' Alam II as Muhammad Mu'a,uam was not part of his name. · Fol 13a (163 x 115 mm). A copy of a seventeenthcentury ponrait of a Deccani ruler identified by us as Sultan 'Abd-AUah Qutb Shah of Golconda (r. 1626-72), in a golden coat and an orange shawl, on a purple

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background. Deccan, Hyderabad, first quarter of the eighteenth century. This is a copy of a portrait of Sultan ·Abd-Allih Qutb Shah made during his lifetime in the Victoria and Albert Museum, London OS 18-1980; Guy and Swallow, Aris of lndta-. 1550-1900, no. 95). Fol (85 x 55 mm). A woman wearing a green shawl and a crown that has a tall gold and red striped cloth cap above it, faces left and holds a small red flower. Mughal, third quarter of the eighteenth century (?). Fol 15& (75 x 50 mm; pl. 137). Aurangzeb (r. 16581707) in old age at a jbaroltba window praying. Mughal, first quarter of the eighteenth century. A similar painting is in the British Library, Oriental and India Office Collections (Falk and M. Archer, Indian Patnting tn the India Ojftce Ltbmry, p . 417, no. 138ii). Fol l&t (195 x 115 mm). A portrait of a Deccani king, identified by us as a likeness of Mul:iarrunad 'Adil Shah 11 of Bijapur (r. 1626-56). The figure has a golden halo with projecting golden rays and holds a long sword. The figure is painted on a purple background. This painting and the one on fol. 13a above were paJt of a set of portraits of Deccani rulers. Deccan, Hyderabad, first quarter of the eighteenth century. There are contemporary portraits of Mul:iammad 'Adil Shah Din the British Library, Oriental and India Office Collections (Falk and M. Archer, Indian Patnting tn the India Ojftce Ltbmry, nos. 405-7). Fol 17a (180 x 120 mm). A copy of an Akbari painting of cwo equestrians preceded by their grooms. Nineteenth century.

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19 Rii11-iilii 42 folios. 325 x 235 mm, miniatures 185 x 125 mm. Nasta'riq. Copied 1224/18()1)-10 (on fol. 26a), but illusttated in the third-quarter of the nineteenth century in Lahore. Accession number M.K.818. The first opening has, on the left hand (side "a") a page of Persian text written diagonally within ornamental calligraphic borders. Names of the rags, rilgapUtms, and ragtnis are given in the headings for the text pages. The illustrations appear on the reverse, the "b" side of the folio. The picture thus does not face its description. In addition to the modem foliation, there is a pagination in Arabic numerals at the center boaom of leaves, with fols. 32b-33a, 34a-35b, 361:>. 38b, 4lb, and 42b unnumbered and with fols. 17a and 4la both numbered 17. In its current modem binding, the leaves are not ananged in correct order, but each rilg in Album 19 has a total of seven wives and sons and the set Is complete. Many of the names of the ragtnis [and all of the rilgapUtra.sl are not found in the Lucknow .Ragamalil of ca. 1790-1809-Wbum 6).

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The miniatures have several features of Lahore painting of the Ranjit Singh period (for fifteen manuscripts in this style, see Mss. 111.35-49). Soldiers wear Mughal turbans but also short gold coats and close-fitting pants, as usually wom by the Sikhs. The faces are shaded with an emphasis on large eyes and heavy eyelids. The lords sometimes sit on round pedestal thrones, as often seen in representations of Ranjit Singh. The background hills are usually painted in intense bright blue or orange, and have walled cities of pink and white buildings on the horizon.

PalldOt.gs

Fol lb. Rag Bhairon, represented as a blue-skinned lord attended by five women who massage his body, cook for him, and provide music. Fol 2b. Ramkali, a ragini of Rig Bhairon, represented as cwo ladies, one seated on an octagonal taltbt, the other standing before her on one leg. Fol 3b. Lallt, a rilgtni of Rig Bhairon, represented by a man approaching his sleeping beloved. Fol 4b. Bhairavi, a mginiofRig Bhairon, represented by cwo women worshipping a golden image in a shrine. Fol Sb. Birari, a rilgini of Rig Bhairon, represented by three women acrobats exercising on a pole and cwo musicians. Fol. 6b. Pancham, a riigtni of Rag Bhairon, represented as a seated woman with a parrot anended by cwo women who hold a mirror and a paan box respectively. Fol. 7b. Madhav, a riigtni of Rag Bhairon, represented as a female ascetic playing a flute and holding snakes as she stands on one leg. Fol 8b. Rag HinQol, represented as lovers in the countryside. Fol 9b. Puma, a nigtni of Rig Hin4ol, represented as a woman with her cwo anendants. Fol lOb. Maru, a rilgapUtm (son) of Rig HinQol, represented as a warrior on horseback who has killed cwo foot soldiers and fights with a third soldier. Fol. lib. Gora, a riigaputra of Rag Hin< 390 mm. The miniatures appear on the "b" sides. Each page is divided into three horizontal registers, all depicting various sexual revels. One sees both the Rajput turban and European military headgear. There is no accession number.

Pt1"""4&• Pol lb (410 )( 315 mm), Pol 2b ( 420 )( 325 mm). Pol 3b (395 )( 325 mm).

32 Pomop'llpblc s-•mt,,., Jucknow Style, ProlJ ably lbst bell ol the twaitL •h oca•11ry 3 folios. 490 x 390 mm. Accession number M. 823. Although the workmanship is good, the indications of space are faulty.

p,.,,,,.,,.. Pomopapblc s-tndnp, Deihl or [ncJuw:rw, ca. 182S 9 folios. 392 >< 260 mm.

atten dants.

The miniatures appear on the "b" side of the folios; the "a" side is blank. The leaves have an older foliation, on the center of the top margins, indicating that they were once paintings 21 through 30 of a larger set. There is no accession number.

p,.,,,,,..

Fol lb ( 193 x 125 mm). A couple on a terrace have sexual intercourse. Fo l 2b (188 >< 92 mm). A couple have sexual intercourse aided by a duenna. Fol 3b (235 >< 156 mm). A couple have sexual in tercourse. Fol 4b (208 x 132 mm). As above. Pol Sb (205 x 135 mm). As above. Fol 6b (195 >< 133 mm). As above. Fol 7b (192 x 128 mm). As above. Fol 8b (170 >< 111 mm). As above. Fol 9b ( 140 x 78 mm). Two women engaged in a sexual act.

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Fol lb (250 >< 170 mm). A couple engaged in sexual relations on a terrace; there is an attendant present Fol. 2b (230 x 145 mm). A couple with two

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Fol 3b (200 x 110 mm). A couple on a bed.

• 33 The re is no album with this number in the Raza Library; it is ve ry much possible that it is the unnumbered album w hich we have designated Album 24 bis.

• 34 Colored daawlnp of flowen, • • n•ncecc:oth/flnt bait of the twfflffc tb cencury 11 folios. 380 )( 295 mm. Accession num ber M.9378. The flowers are drawn in different styles: a European realistic style (the roses, fols.

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la, 9a); a simple folk style (fol. Sa); Mughal style, showing exotic blossoms on a single stalk (fols. 3a, 7a, IOa); and stylized flo ral patterns that may derive from Indian textile patterns (fols. Sa, I la). Similarities in the representation of grass in works of "different styles· suggest that all paintings are the work of a single studio. The pictures appear on the •a· side of the folios. Pahflhlgs FoL la (215 x 130 mm). Pink flowers, labeled gulab ("rose"). FoL 2a (195 x 115 mm). A nosegay of multicolored flowers. FoL 3a (220 x 130 mm). A SUsan ("lily"). FoL 4a (220 x 130 mm). An iris. FoL Sa (190 x 150 mm). A cornucopia of flowers, represented in a somewhat abstract manner. FoL 6a (340 x 205 mm). Grapes, roses. etc.. with a fanciful large butterfly. FoL 7a (355 x 205 mm). Abstract flowers with blue centers and red-orange outer leaves growing on the same stalk with a different kind of small flower. FoL 8a (280 x 210 mm). A black bird on a flowering hranch. FoL 9a (140 x 100 mm). A stem with three pink roses and three rosebuds. FoL l Oa (265 x 180 mm). Red flowers. Fol. lla (220 x 135 mm. Flowers with small huildings in the background, a composition probably dt:rived from Indian te.xtiles.

35 Riigmt1iilii, Attbalstic MMewir" style, first baJf of the twentieth century

40 folios. 350 x 280 mm. Accession number M.K. 9352. The names of the rags and ragtnis were apparently once given on the top center frame but have been pasted over with small pieces of white paper, and are no longer visible. This might be tenned "The Vina Ragamala "for this musical instrument appears in almost every painting. Palldilfgs FoL lb (142 x 110 mm). A r.aja with his coun . The bottom third of the painting is missing. FoL 2b (144 x 117 mm). A woman leaning against a tree. FoL 3b (144 x 113 mm). A woman with her hands clasped above her head. Fo L 4b (140 x 120 mm). A lady amidst peacocks. FoL Sb (140 x 120 mm; pl. 147). A woman wearing a skin of leaves plays a flute that tnracts snakes.

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Fol. 6b (130 x 103 mm). A blue-skinned lo rd (Krishna) after killing an elephant. Fol 7b (136 x 100 mm). A vlnii player. Fol 8b (135 x 107 mm). Worshippers at a shrine. including a lady canying a vlnii. Fol 9b (130 x 107 mm). A lady sitting, with rn·o servants. Fol lOb (152 x 128 mm). A brown-skinned ascetic and two vlnii players. Fol llb (132 x 110 mm). Above, a vlnii player and a bird, and below, a vlnii player greets a lady sitting in her house. FoL 12b (145 x 122 mm). A lady playing a vina attracts deer. Fol 13b (130 x 108 mm). A lady with a vlna and two servants. Fol 14b (134 x 106 mm). A lady with a vlna and four short female musicians. Fol. lSb (132 x 112 mm). Two vina players separated by a fountain. Fol 16b (140 x 115 mm). An ascetic holding a vina and two smaller figures holding sarods; above them are two large birds holding necklaces in their beaks. Fol 17b (142 x 114 mm). A woman wearing a skin made of leaves holding a vlnii and two similarly dressed ladies holding sarods. FoL 18b (140 x 115 mm). A woman sitting, holding a vlnii flanked by two standing musicians. Fol 19b ( 141 x 115 mm). A man in a skin made of leaves holding a vl'lii and two female sarod players. Fol 20b (150 x 115 mm). A woman holding a vloo with two other women holding sarods. Fol 2tb (143 x 115 mm). A woman dancing while holding her vlnii. Fol 22b ( l 45 x 125 mm). In the rain, two male bbils play their v1,ias attended by two females. Fol 23b (140 x 120 mm). A woman escapes from a stonn into the arms of her beloved. Fo L 24b (130 x 110 mm). At night, a woman holding a necklace of flowers is surrounded by her guests and musicians. Fol 2Sb (135 x 110 mm). A woman reclining on a hed listens to a sarod player. Fol 26b (130 x 110 mm). A woman holding a vinil sits on a mat of leaves on a terr.ace. Fol 27b (134 x 115 mm). A woman with her vina and four other musicians. Fol 28b (139 x 110 mm). A dark-skinned male vinil player and two male sarod players. Fol 29b (132 x 110 mm). At night, an old ascetic holding a vlnii is surrounded by candles. FoL 30b (140 x 114 mm). An elaborate large wheel with four compartments for riders. Fol 31b (144 x 120 mm). A woman with a 1-i nil on a rug made of leaves, and two attendants. Fol 32b (141 x 113 mm). A woman with a 11ina and a deer.

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Fol 331> (142 x 107 mm). A 1'2ja smoking a water

Fol 37b (140 x 115 mm). A man under a red awning

pipe while listening to a lady play a sarod. Fol 34b (138 x 120 mm). A hennit in a cave holds a vina and his two attendants hold sarods. Fol 3Sb (139 x 112 mm). A walking man carrying a vina, and two smaller walking men also carrying vinas. Fol 36b (140 x 118 mm). A woman with her vina and two attendants.

holds a vinil, with two attendants. Fol 38b (140 x 120 mm). A woman holding a vinil seated with two women, represented in smaller scale, holding sarods. Fol 39b (138 x 118 mm). A woman holding a vinil on a balcony feeds a black buck and deer. Fol 40b (140 x 117 mm). A mounted warrior fights with three foot soldiers.

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MUGHAL MANlJSCRIPl'S

Sixteenth-Seventeenth Centuries

• 1.1 P.3277 (M.IC.336). Diva ("C.ollected Poems") of JJifq, Shams al-Din Mn\Ji• mmecl, of Sb.lnz ( cl 791/ 1388-89 OI' 79211390). 404 pages. 26S x 200 mm, text box 1SS x 80mm. 2 columns, 14 lines. Fine nasta'Tiq. 11 miniatures. Copied ca. 1S7S in Khurasan, illustrated 1585-95 probably in Lahore. Purchased by Mulµmmad Kalb-i ·Ali Khan, nawwab of Rampur, from Mul)ammad Akram, the grandson of l:fafq; Khurshid ltbi4sbnarfis LaJtbnmii ("the calligrapher of Lucknow") on January 2, 18S7.

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Shams al-Din Mulµmmad, known as l:fafq;, lived in the south Persian city of Shiraz and received patronage from the Inju and Muzaffarid rulers of that city. He is credited with perfecting the ghazal or ode form in poetry, and the authorized version of his Divan includes some S73 ghazaltyyiU. Volumes of his poetry were popularly used for fortune-telling (for an explanation of how this was done, see Browne, A literary History ofPersta 3, pp. 31113). At least three copies of the Divan of l:fafi~ have been associated with Akbar's court. The earliest one, divided between the British Library, Oriental and India Office Collections, London and the Chester Beatty Library, Dublin, was copied in 990/ 1582 by 'Abd al-~amad, who is better known as a painter and the second head of Akbar's naqqashkbana. Its miniatures are generally considered contemporary with the date of the manuscript

min ibn 'Umar (d. 374/984).

334 pages. 260 x 175 mm, 1 column, 23 lines. Naskb. 83 miniatures. Copied 899/12 October 1493-1 October 1494, with paintings in Sub-Imperial Mughal !.tyle of 1590-1610.

Colopboa: "This copy was finished ('freedom from (copying] this copy happened') in the year 899 (1493-94)." Al-$ufi's treatise describes the constellations of the northern and southern hemispheres and ·t he signs of the zodiac. Usually in copies of al-$ufi's treatise each constellation or zodiac sign is drawn twice, first as it appears on a celestial globe and second as seen in the heavens - one view being the mirror image of the other. The illustrations in the Rampur manuscript depart from this norm: indications of stars in the constellations are usually only in the heavenly views, and several of the constellations have both celestial and terrestrial images facing the same direction. No royal Mughal copy of $uwar aJ-kawaktb is known. There is no illumination or ruling of pages in this manuscript. Dark stains on several leaves were caused by the injudicious use of scotch tape for mending. The illustrations which were only added in the late Akbar or Jahangir period, were executed by several artists and the two images of a particular constellation or zodiac signs are often by two different hands (pp. 50-51; pl. 175). Drawings in the style of 'Abd al-$amad, the head of Akbar's painting atelier, are found in the manuscript; an elegant representation of the constellation Orion in his style is particularly outstanding (p. 180; pl. 178). Other paintings, such as one showing the stocky figure of Aquarius, more closely reflect the quality and style usually found in Sub-Imperial book illustration (p. 159). The images of animals are remarkable for their naturalism (p. 94, pl. 176 and p. 120, pl. 177). The outlines of figures and facial features have been strengthened on some paintings; repairs can be easily detected because of their darker color. It is possible that some of the figures may also have been colored at a later period. Mltttatures

Constellations of tbe Northern Hemisphere

Pages IS-16 (each, 90 x 115 mm). (al-IDubb laJ-] ~gbar (Ursa Minor). Two pictures of the smaller bear.

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Pages 20-21 (each, 180 x 110 mm). [al-)Dubb (al-I Akbar (Ursa Major). Two pictures of the greater bear. Pages 26-27 (each, 105 x 160 mm). al-Tinn in. Reciprocal images of the dragon of the eclipse but wi!h some differences in the poses. Pnge 31(80x105 mm). [aJ-IQiqa'w(Cepheus). Tv.·o pictures. Page 35 (100 x 115 mm). (al-l'Uwa (Bootes). The two pictures are side by side. (The constellations al-Iklil al-Sbamali (Corona Borealis), al-jatbi (Hercules), and al-Sha/yak (Lyra), are omined.J Page 42 (110 x 180 mm). (al-IDajaja. (Cygnus). The two pictures have the same direction. Page46 (165 x 160 mm). Dbaral-Kursi(Cassiopeia). The two pictures of the woman seated in a chair are placed side by side and have the same direction. Pages SO-SI (each, 145 x 100 mm; pl. 175). [al-I Barsawusb (Perseus). The two pictures of Perseus holding the head of the Gorgon and a raised sword have the same direction. Pa11C9 56-57 (190 x 130 mm), laJ.IMumsik al-A 'inna (Auriga). The two pictures of the charioteer with his whip raised have the same direction. Pates 63-64 (120 x 135 mm). (al-]Hawwa wa [al-] }fayya (Serpentarius). The two pictures of the serpenthandler have the same direction. Paaa 69-70 (95 x 105 mm). Na¢ Tayr (al-Uqilb, Aquila). The two pictures of the eagle have the same direction. Page 72 (120 x 95 mm). Dalftn. (Delphinus). Personified as a lion-headed whale. The two pictures are placed one above the other and have the same direction. Page 74(80x125 mm). Qa!'at a/-Faras(Equuleus). The two pictures of the head of the horse face each other. Paaes 77-78 (each, 100 x 125 mm). (al-]Faras (al-I A '+am (Pegasus). Two pictures of the front part of a winged horse. Pages 83-84 (each, 155 x 140 mm). (al-!Mar'at alMusa/sal (Andromeda). The two pictures of a woman standing with her arms extended to the sides have the same direction. Page 86 (160 x 120 mm). Andromeda with Pisces. [al-Paras al-Tamm (Equus Major) and al-MutbaJ/atb (Triangulum) are omined.]

Signs oflbe Zodiac Page 94 (230 x 125 mm; pl. 176) [al-llfamal(Aries). The

two pictures of a running ram are one above the other and have the same direction. Pages 99-100 (150 x 150 mm; 150 x 145 mm). l al-1 Tbaur (Taurus). Traditionally the bull is shown without hind quarters; the two pictures have the same direction. Paaes 107-0S (each, 150 x 145 mm). (al-)Tawtim (Gemini). The twins are two interlocking androgynous

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figures wearing short s kirts. The two pictures have the same direction. Psai• 114-15 (75 >< 100 mm; 100 >< 90 mm). [al..J $a~n (Cancer). The bodies o f the crabs are symmetric3l and thus lack directio n, but the second crab is presented d iagonally. Pser.• 120-21 (140 >< 16o mm; pl. 177). [aJ.) Asad ( Leo). The lion. rsae 128 C26o >< 130 mm). [aJ.J'Adbm' (Virgo). A woman with her arms extended to the sides; the pictures are o ne above the other and have the same direction. Psae 132 ( 130 >< 105 mm). [al-IMtzan (Libra). The two scales are drawn symmetrically o ne above the other. Psae 138 (165 >< 100 mm). [aJ..)' Aqrab (Scorpio). The two scorpio ns are o ne above the other and have the same directio n. Pap 143 44 (110 >< 140 mm; 16o >< 140 mm). [al-) Rami (Sagittarius). A female centaur shooting a bow and arrow; the two pictures have the same direction. Paaee 149·50 (ea ch, 125 >< 150 mm). [al-] jady (Capricorn). Traditio nally the goat is shown with the tail o f a fish; the two pictures have the same direction. P:.ae• 158-59 ( 170 )( 110 mm; 190 )( 130mm). saktb a/-Ma ' (Aquarius). A man ho lding a river. Psae• 16s-66 ( 170 >< 110 mm; 225 >< 135 mm). alSamakatayn ( Pisces). The two fish are joined together by a stre am o f stars. The two pic ture have the same direction; the second image is s maller than the first. Coll~

of lbe SotdlH•• H...uplHre

Psaes 173-74 (190 >< 115 mm; 180 >< 115 mm). al-Qi!as (Cerus) . A whale , here p ictured as a large fish with the

head and forelegs of an animal. Pap 179-80 (180 >< 195 mm; 235 >< 125 mm; pl. 178). aJ.jabbilr (Orio n). A heavily-armed man with one hand covered by a lo ng sleeve. Pages 186-87 (eac h , 160 >< 115 mm). al-Nabr (Eridanus). The rive r. Page 189 (215 >< 120 mm). al-Amab (Lepus). The two p ictures o f the hare have the same direction. Pages 194-95 ( 190 >< 140 mm; 90 >< 100 mm). [al..JKalb al-Akbar (Canis Major). There is a mistake here for on each page there are two dogs; they are one above the other and have the same direction. Page 197 (85 >< 95 mm). lal-]Kalb al-A.$gbar(Canis Minor). The two s malle r do gs are o ne above the other and have the same directio n. rsae• 203-0'i (210 )( 145 mm; 240 )( 165 mm). alSafina (Argo Navls). The two boats have prows in the shape of bird heads; they have the same direction. PsF• 213-14 (57 >< 115 mm; 65 >< 210 mm). alBatir (Crater) . The urns a re symmetrical; there are (mistakenly) two pictures side by side o n each page. PrfF 215 (85 >< 155 mm). al-Gbumb(Corvus). The two crows are o ne above the other and have the same directio n .

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Pqes 220-21 ( 190 >< 140 mm) . al-QtntaurU5 (Centaurus). Two pictures of a female centaur holding a lion by its back feet. PsfF 1:r1 (16o >< 135 mm). al...sabu' (Lupus). The two lion-like animals have the same direction. rsae 230 (90 >< 110 mm). al-Mtjmara (Ara) . The two bulbo us vas es conta in plant leaves and are symmetrical. lal-llrrll al-janubt (Corona Australis) is omitted.) Prai• 233-34 (65 >< 115 mm). lfUI al-janUbi ( Piscis Australis). E#Ulone111elds: On the first page, three seals erased, one of which ls of Mirza Mul;wrunad, whose endorsement below the seal is erased except for the words, • Allahu Akbar (God is great !)... al-Mannan (of the obliging (lord) ...)". There is a note in Urdu saying, "11Us was the handwritings of the author of Tarillb-t M""ammadi, M"ll'Zii MW)ammad l;lirithi Badakhshi Dlhlavi, which has been erased by some one", [signed] lmtly:iz 'Ali-'Arshi.

Pttblk""'1f11 Arshi, Cat4Jogue ofthe Arabic Manuscrlpls tn tbe Raza Ubmry, Rampur 5 (1975), pp. 46-47.

• 1.3 A. 4601 (D.B.116o). ~'#6

Ill.,,.,,,.,., Crc•m

gbmii'lb "'..wJiofMI ("The 1V0"4. a Persian parapbraae of the Sanskrit Rattrabas (MSeaets of Love-making•) of Koki Paodlt, by Khwijagi Shirrioi.

51 pages . 307 x 180 mm. I column, 24 lines. Cursive script. 16 m iniatures. Copied 1032/26 October 1622 - 14 October 1623, by Fati) Chand.

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c:olopbort: 'Finished (in the year) 1032 (by) Fat!) Chand· This popular manual is a Persian translation of an early medieval Hindu work. A similar classification of types of women appears in the Kamsbllstra. The earliest recorded Persian copy of the Koltsbastm was made for a Sultan of Bidar (Deccan), ca. 1600. The dark cream paper is of poor quality with many impurities; headings and to pics are w ritten in red ink. There is no illumination in this manuscript and the pages are not ruled. The gatherings of the leaves are loose. The new leather binding has the name Koltsbiistm and the date 1032 in gold on the cover. The pro portio ns and actions of the figures are competently rendered and painted in a restricted palette of red, yellow, light purple, and dark green. Baselines and background motifs are avo ided; landscapes are absent or are represented by a bouquet of oversized flowers. The most channing miniatures are com posite paintings with the ladles of the harem forming the pans of an elephant and a horse (p. 10, pl. 184) or a palanquin upon which their man sits (p. 11, pl. 185). All the single "portraits" are presented in the archway of a pavilion.

Milllatwns Page 6 (150 x 130 mm: pl. 183). Portrait of a Padmini

woman, the best of four types of women. Pq (50 x 70 mm). If one wants to remove hatred from the heart of a person, take two pieces of cloth, one from the garment of the o ne who runes and the other from the gannent of the person who is hated. Bum the two pieces together and mix with ten grams each of saffron, incense, and mustaltt ( mUSJak, (Sanskrit), a species of fragrant gras.s, cyperus rotundus). Mold this mixture into an effigy of a frog, inscribe some special symbols on the frog's belly, and Invoke the spirits. Fol 65a (105 x 145 mm). A picture of a twelveheaded black monster with twelve snakes under it is to be drawn in the blood of a dog. The purpose of this talisman is not given.

M-4/I '111-al/jiir Fol 731> (90 x 60 mm). A picture of a man standing on the back of a tiger (here, a leopard) holding a large f!Sh on his head with his right hand raised. This drawing is to be used for a Saturn ring. It protects its wearer against ailments like leprosy and madnes.s. Fol 74.a (90 x 60 mm). A talisman carved of black stone to be worn as a Venus ring. The picture shows a man with his genitals cut off and his hand attached to his belJy. His testkles lay between his feet and he stares at them. On his right is Venus holding a lute; she is joined at the back with the man. Fol 7 5a (80 x 130 mm). A picture for a Jupiter ring to be carved in white stone. It shows a man riding an eagle and holding a spear. Fol 75b (60 x 60 mm). A picture for a Mars ring, to be carved in red stone. It shows a naked man standing next to a statue of Venus in the form of a woman with long hair. He represents Mars, and puts his hands on the woman's breasts. One who wears such a ring is protected from thieves and loved by other people. Fol 77a (105 x 95 mm). A woman rides on four horses holding a hunter in her left hand. This talisman is to be carved o n a diamond ring. Fol 77b (100 x 150 mm). Pictures of the sun and the moon are to be carved on two agate rings. The sun rests on a wheel drawn by four horses; the w heel of the moon is drawn by two bulls. The wearing of these two rings alternately makes one respectable in people's eyes. Fol 78b (100 x 140 mm; pl. 187). A picture of a woman with long hair playing a lute (Venus) standing next to Mars. Mars holds a sword in one hand and the severed head of a child in the other. On the right is a third smaller figure holding a large sword or cudgel. The piaure is to be carved on a lajvardin (lapis lazuli or azure) ring. Whoever wears it will not be overpowered by anyone.

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MANUSCRIPT 1.6

89

Fol 79a (70 x 75 mm). Venus represented by a squatting woman whose long hair spreads around her holds two winged children on her lap. Liijvardin and fir'Uza ("turquoise") are the stones favored by Venus. If one wears a ring of these stones inscribed with this picture, one is protected from the evil spirits and is loved by everyone. Fol 79b (75 x 40 mm). A pictu.re to put on a Venus ring. A woman stands on one foot plucking a thorn from her other foot. Wearing a ring with this talisman brings high stature and honor. Fol 80a (95 x 140 mm). A picture to be engraved on a Mercury ring. A youth clad in a royal robe stands on a snake. He has wings on his shoulders and a cockscomb on his head, and holds a club in his right hand and an anklet in his left hand.

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Fol 81b (100 x 95 mm). A talisman for a Moon ring. A woman with the head of a goat has two multiheaded snakes growing from her shoulders and two holes on her belly from which testicles grow. The image is upside-down. This talisman worn on a silver ring protects the wearer from evil influences and the wickedness of his enemies. Fol. 82a (65 x 65 mm). A talisman of Venus represented by a winged woman holding a top in her right hand and a sheath of com in her left hand. The emblem when worn with a magnet protects the wearer from evil and makes others love him. Bibliography: Arshi, Catalogue of tbe Arabic ManuscriptS in the Raza Library 5 (1975):578-79.

Orig in al from

UNIVERSITY OF MICHIGAN

DECCAN MANUSCRIPI'S

Sixteenth-Nineteenth Centuries

• 11.1 A.46oo (M.K.6o3). 'AJ;;'lb ol ,,.allbliiqiit wa gbarii'lb ol....all?fiidiit ("The Wooden of Cftadon and the

Mand& of Eldst.ence") by al-Qazwini, Zakariya Ibo Muhammad Ibo M•~miid (d. 682/1283). •

331 folios. 327 x 244 mm, text box 270 x 195 mm. 1 column, 22 lines. Naskb. 189 miniatures. Copied 15 Rajab 979/ 3 December 1571 probably in Bijapur by l;iusayn ibn Kamal al-Din. c:olopbort: 'This book entitled 'Aja 'ib al-makbliiqat va gbaril'ib al-mawjudilt was finished with the help of God, the forgiver of sins, at the hands of the weakest of the creatures of God, the mru.1er of both the worlds, by l;iusayn son of Kamal al-Din, may both (of them) be pardoned and their sins be forgiven, in the middle (i.e., 15th) of the profound month of God, Rajab the honored, may God magnify its worth and make auspicious for us its benefits and graces, in the year nine and seventy and nine hundred of the migration of the Prophet, may on him be the most accomplished of salutations and the noblest of blessings. And praise is to God, the Lord of the worlds, in the beginning and the end." P'roveN411ee: In the possession of Sayyid AJ:unad Gilani

l;iamavi al-Barelvi (of Bareilly, in U.P.) and his son from in5-76 to 1830-31 . This manuscript is the earliest of six copies of· Aja'ib almakbluqat in the Raza Library. Two, in Arabic language, were copied in the second half of the sixteenth century:

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the style of the earlier one is described below and the second, in Popular Mughal style, is dated 1000/1591-92 (supra. Cat. no. 1.3 (A.4601)). Three anonymous Persian translations of Qazwini's work were copied in th e nineteenth century (infra, Cat. no. 111.7 (Misc. SOI, ITI.27 !Misc. 51), and 111.45 [Misc. 491). A final version is a Persian translation by Fakhr al-Din l;iamza ibn 'Abd al-M~lik alTlisi al-Bayhaqi al-Sabzavari with the pen name Adhari who died in Bn/ 1472-73 (infra, Cat. no. 111.74 lP.4144)). The first opening of A.4600 is a sarlau}/ with eight lines of text within scalloped ovals surrounded by a narrow frame of zigzag motifs. The bold principal border is of orange and blue overlapping cartouches. There is an outer border of large, reciprocal trefoils. The miniatures are painted in bright thick colors that have a dull sheen. The zodiac figures are surrounded by blue sky with multicolored cloud swirls on blue background (p. 36, pl. 188); all other representations appear on uncolored backgrounds. Several of the faces are notable for their Indian features (p. n, pl. 189; p. 158; and p. 187). Many of the heads of figures and animals have been deliberate ly smeared and sections of the paintings are missing. The paintings have been patched with tan paper. In addition to the paintings there are numerous diagrams of the planets and stars in the first section of the text (pp. 1-71). The Raza Library manuscript is one of several illustrated Arabic copies of Qazwini's popular work attributed to the Deccan. The earliest of these is a now lost 'Aja 'lb al-mdkbliiqat once in the British Library, of 954/ 1547; it was described as being made in Golconda (Losey, An oftbe Book in India, p. 123; the author cites a registration ledger in the British Library of 1879, p . 995).

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MANUSCRIPTS II. I

91

There are two Deccani copies of al-Qazwini in the British Library, Oriental and India Office Collections, which have identical colophons saying they were completed in the month ofRajab 979/November-December 1571 and giving the name Kamal al-Din J;fusayn (Loth 723-24; 0. Loth, Catalogue of the Arabtc Manuscripts in the Library of the India Office, London, 1877, pp. 209-10). Badiee believes rhat Kamal al-Din J;{usayn was the patron of the two manuscripts (Badiee, "Angels in an Islamic Heaven", Bulletin of the Los Angeles County Museum of Art 24 (1978): 51-59). However, we believe that he was almost surely (only) the calligrapher, for the words 'ala yadi ("by the hand of") appear before his name; it would seem that it was his son J;fusayn ibn Kamal al-Din who wrote out a third copy of this work that was completed this same month, the manuscript now in the Raza Library. The miniatures in the three volumes are the works of a single atelier. In addition to the complete manuscripts, there are leaves from a dispersed 'Ajil'ib al-makh/14qilt from the same workshop in the Los Angeles County Museum (Pal, Indian Painting: A Catak>gue of the Los Angeles County Museum of Art 1, no. 95); San Diego Museum of Art (Binney; Indian Miniature Painting from the Collection ofEdwin Binney, 3rd: 1be Mughal and Deccani Schools, p . 152, no. 126), and Ashmolian Museum, Oxford (Carboni, "Constellations, Giants, and Angels from alQazwini Manuscripts", pp. 83-97). The miniatures in the copies of 'Aja 'ib al-makh/i'4qat are stylistically similar to ones in a copy of Nujum al'ulum ("The Stars of the Sciences") in The Chester Beatty Library, Dublin (Leach, Mugha/ and Other Indian Paintings from the Chester Beatty Library, pp. 819-89). The figures are depicted in the same manner, and the zodiac figures are surrounded by similar clouds. The Beatty manuscript is dated 979/1570-71, and was made at the order of the (subsequent) ruler of Bijapur, Ibrahim, 'Adil Shah I (r. 1579-1626). The Raza Library manuscript may also be assigned to a Bijapur provenance. Mlldatwres

TbePfmwls Page 23 (85 x 98 mm) . .Qamar(The Moon). Page 28 (98 x 98 mm). 'lfriirld (Mercury). Page 30 (111x111 mm). Zuhra (Venus). Page 31 (98 x 124 mm). Shams (the Sun). Page 34 (101 x 98 mm). Mirrikh (Mars). Page 36 (111 x 130 mm; pl. 188). Zuqa/ (Saturn).

COlulellallou of lbe Northern Hemisphere Pase 39 (65 x 111 mm). al-Dubb al-A.$ghar(Ursa Minor). Page 40 (65 x 137 mm). a/-Dubb al-Akbar (Ursa Major). Page 41, top (59 x 163 mm). al-Tinnin. The dragon of the eclipse. bottom (117 x 72 mm). (al-)Qiqil'Us (Cepheus).

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Page 42, top (85 x 59 mm). a/-'Uwii' (Bootes).

mklcUe ( 46 x 46 mm). a/-Ikli/ a/-Shamali (Corona Borealis). bottom (85 x 78 mm). a/-jathi (Hercules). Page 43, top (98 x 176 mm). a/-Hawwil wa allfayya (Serpentarius). middle (78 x 10 mm). al-Sahm (Sagitta). bottom (59 x 85 mm). al-'Uqab (Aquila). Page 44, top (46 x 78 mm). al-Dal.fin (Delphinus). mlddle, right (46 x 46 mm). Qa('at al-Paras (Equuleus). bottom, left (98 x 124 mm). al-Paras al-A '+am (Pegasus). Page 4S, top (65 x 78 mm). al-Mar'at al-Musa/ sa/a (Andromeda). boa.om (85 x 111 mm). al-Paras al-Tamm (Equus Major). Page 46, top (33 x 46 mm). a/-Mutha/lath (Triangulum).

Sips of lbe Zodiac bottom (85 x 101 mm). al-Hamal (Aries). Page 47 (111 x 98 mm). a/-7baur(Taurus) Page 48, top (98 x 46 mm). al-Taw'amayn (alTaw'am, Gemini). middle (59 x 65 mm). al-Sararan (Cancer). bottom (85 x 202 mm). al-Asad (Leo). Page 49, top (98 x 78 mm). al-Sunbula (Virgo). bottom (72 x 91 mm). al-Mizan (Libra). Page SO (pl. 189), top (65 x 101 mm). al-'Aqrab (Scorpio). boa.om (137 x 15 mm). al-Rilmi (Sagittarius). Page 51, top (72 x 117 mm). al-]ady(Capricom). bottom (lll x 111 mm). saktba/-Ma'(Aquarius).

Cmlslellatlmts of tbe Southern Hemisphere Page S4, top (59 x 72 mm). al-BatSiivush (Perseus). bottom (91 x 72 mm). al-Mumsik al-A 'inna (Auriga). Page 5S (98 x 72 mm). (al-Jjabbilr(Orion). Page S6, top (46 x 130 mm). a/-Nahr(Eridanus). middle (33 x 72 mm). al-Arnab (Lepus). boa.om (33 x 111 mm). al-Kalb al-Akbar (Canis Major). Page S7, top (33 x 85 mm). al-Kalb al-Muqaddam (Canis Minor). bottom (124 x 176 mm). al-5afina (Argo Navis). Page SS, top (137 x 176 mm). a/-Shaja' (Hydra). mlcklle (53 x 40 mm). al-Batara (al-Batir; Crater). bottom (33 x 78 mm). al-Ghurab (Corvus). Page 59, top (130 x 163 mm). al-Qinfaurus (Centaurus). bottom (85 x 137 mm). al-5abil' (plural of al-Sabu ·, Lupus) Page 60, top (91 x 46 mm). lal-Mijmaral alMa~Uda (Ara).

Orig in al from

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAINTINGS AND ILLUSTRATED MANUSCRIPTS IN THE RAZA LIBRARY. RAMPUR

92

bottom (53 x 137 mm). a/-lfut al-]anubi (Pisces Australis). A..gels

Page 74 (137 x 163 mm). The four angels who support the throne of God, one in human form (an angel) and the other three in the forms of bull, eagle and lion. Page 75 (163 x 137 mm). One of the four favorite angels who has a human form. Page 76 (163 x 144 mm). The archangel Israfil (Aurie!) blowing the resurrection trumpet. Page 77 (163 x 124 iru:n; pl. 190). The archangel Jibra'il (Gabriel). Page 78 (150 x 111 mm). The archangel Mika'il (Michael). Pagc: 79 (163 x 163 mm). The archangel ' Izra'il (Izrael). Page 81 (85 x 137 mm). An angel of the earthly heaven in the form of a cow. God has deputed over them an angel named lsm:i 'il. Page 82, top (53 x 163 mm). The commissioner angel Mikh:i 'il. bottom (85 x 163 mm). The commissioner angel Sa'id Ya'il. Page 83, top (98 x 163 mm). The commissioner angel Salsa 'il. bottom (72 x 150 mm). The commissioner angel Kalk:i 'il. Pagc: 84, top (85 x 98 mm). The archangel of the sixth heaven, Shamkh:i 'il. bottom (78 x 176 mm). The archangel of the seventh heaven, Rub:i 'il. Pagc: 85 (78 x 176 mm). a/-kiriJm al-klltibUn ("the guardian angels"). Two shown on either side of a king. Pagc: 87 (137 x 202 mm). The angels Harut and Marut, who were suspended by their feet in a well for eternity as punishment by God. Pate 100 (169 x 169 mm). A chart showing the day of the week on which the month of RamaQ:in begins, according to the reckoning of Ja'far al-~:idiq. Page 130 (124 x 124 mm). The shining sun. Pate 131 (59 x 182 mm). The rainbow. Woaders Pagc: 135 (130 x 44 mm). The castle described by the author of Tull/at al-gbariJ' tbthat princes entered and were

overtaken by sleep. Pagc: 136 (101 x 189 mm). Three strange creatures of the island of Serandip (Ceylon). Page 137, top (91 x 176 mm). A sea-monster on an island near Serandip that was killed with the help of lskandar (Alexander the Great). bottom (53 x 72 mm). A yellow rabbit with black horns seen in the sea between China and India, as described by the author of Tuf?fat a/-gbariJ 'ib.

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Page 138 (40

x 85 mm). A fish with a human face

seen in the sea between China and India. Page 142, top (59 x 150 mm). A sea-dragon found in the Straits of Hurmuz with crocodile-like teeth, and red mouth and eyes. mlclclle (33 x 111 mm). A green f15h with a proboscis that he uses to attack other sea creatures. bottom (29 x 85 mm). A sting-ray, a circular-shaped f15h with a long tail. Page 143 (98 x 169 mm). A man rescued by holding on to the feet of a giant bird. Page 145 (52 x 12 mm). A giant fish two hundred feet long that is seen in the Bal;lr-i Qulzum (Red Sea). II can overturn boats and ships with its tail. Page 148 (98 x 176 mm). In a part of Egypt where the Nile flows, there were seen creatures with the faces of dogs and human bodies. Here three of them have a human captive. Pagc: 149, top (91 x 59 mm). A man with no bones in his legs is carried on the shoulders of a traveler. bottom (65 x 137 mm). A giant fish with saw-like teeth measuring two feet in height and a ten-foot bone on either side that makes a fearful noise when it is hit against the water. Pagc: 153 (78 x 98 mm). al-sbaykb al-yabiuli. A mor1Ster with the head of a bearded man and the body of a frog. Page 154 (65 x 163 mm). A giant fish of the Red Sea that produces a strange and fearful sound. Page 155, top (29 x 53 mm). A small black fish which seamen say continues to move after it is cut into pieces. bottom (41 x 35 mm). A minaret f1Sh, which attacks boats and drowr1S the people aboard. It can be driven away by playing trumpets and hoTrlS loudly. Page 156 (35 x 59 mm). A large-winged f15h whiCh can fly when the water level is low and it is difficult for it to swim. Pagc: 157 (78 x 189 mm). One of the many serpents seen on Jazirat al-Jinn. Page 158 (98 x 189 mm). Nlishirvan and the wall built by him in the sea. The enthroned monarch flanked by two archers regards with surprise a morlS!er bull whose tail ends in a dragon head. Pate 159 (91 x 85 mm). A sea rabbit; an animal with the head of a rabbit and the body of a f1Sh. Page 16o, top (59 x 91 mm). A waterman; a man having a tail, seen in the Syrian Sea. bottom (85 x 117 mm). A watergoat. It is said that a black oily substance emitted from its mouth forms amber. Page 161 (72 x 182 mm). A strange sea animal with a long tongue, a turtle-like back, and a long tail that crawls on four legs. Page 163 (98 x 161 mm). A sea-monster with black eyes and a wide mouth that has sharp teeth. The movement of its enormous body creates waves in the sea.

Orig in al from

UNIVERSITY OF MICHIGAN

MANUSCRIPT II. I

93 Page 187 (150 x 189 mm). Court scene.

Ftsb

Page 164, top (35 x 85 mm). lal-lt;lalfin. The dolphin. A M-"'8 fish of good omen to seamen. When the fish sees someone Page 37S (85 x 101 mm). [al{faras. The horse. drowning, it rushes to his rescue and allows him to hold on to its tail. Page 376 (78 x 101 mm). (al-lbaghl. The mule. mkldlc (35 x 95 mm). (al-lt;lubayan. The flesh of Page 377 (72 x 85 mm). [al-JJ,itmilr. The ass. this fish is astringent and will remove a thorn. Page 379 (72 x 124 mm). lal-IJ,ifmar al-wal!sh. The wild donkey. bottom (35 x 65 mm). [a/-J rl'ada. The freezing fish. A small sea fish with tentacles. Indian physicians use the Page 381 (98 x 150 mm). (ai.Jibfl. The camel. Page 382 (91 x 111 mm). lai.Jbaqar. The ox. fish to cure high fever. Page 16S, top (35 x 72 mm). [al-1.ramur. A lucky Page 384 (91 x 182 mm). (ai.Jbaqar al-wal!sh. The fish that mariners release when they net it. It is thought · wild ox or stag. It has long horns with branches that it is that the fish loves man and will guide lost boats; when a said to shed every year (but it is seen only with horns). If sea-monster threatens a boat, it attacks the monster's ear it gets sick after eating a snake, it does not drink water so and initates its brain. as not to spread the poison. If one keeps one of its horns bottom (23 x 46 mm). lal-l~fiyasi. A big fish seen in the house, snakes stay away. Eating the brain of a wild cow is a cure for paralysis. Hanging its horn next to a in the sea near Bayt al-Maqdas. Its skin is inflammable. Page 166, top (35 x 98 mm). [al-J~nqar. A sea cowshed makes the cow give more milk. Page 38S (72 x 101 mm). 1ai.JjamU5 (al-baqar alcrearure said to be the offspring of the crocodile. At the time they come from the egg, those crawling into water jamU5) The buffalo. A heavy-bodied animal which does become crocodiles while those remaining on the sand not sleep but takes short naps at night. Page 386 (124 x 137 mm). [ai.Jzarrafa. The giraffe. grow into al-saqanqar. Page 167 (85 x 137 mm). [al-l$Ulal?fat. A tortoise. An animal with the head of a camel, horns like a cow, An amphibian with a huge hard body that is found on the and skin like a tiger and having a long neck. Its forelegs coast; it is similar to a small island and has grass growing are shorter than its hind legs. Page 387 (59 x 85 mm). lai.Jt;la 'n. The sheep. A on. domesticated animal that is not afraid of buffaloes, camels, Page 171 (72 x 111 mm). /ams al-mil'. The wateror elephants, but is afraid of wolves. It delivers six or seven horse. A creature similar to a nonnal horse but with shining spots on its hide. It lives in Egypt along the Nile. lambs at a time, and they begin to recognize their mother Page 172, top (59 x 124 mm). lal-lqaFU5 (al-qitas, soon after their birth. the whale) A huge fish that can break even big boats. If Page 388, top (53 x 72 mm). (ai.)ma 'z . A kind of mariners kill one of them, they leave it on the boat to goat. A docile animal whose thin skin is covered by fur. bottom (59 x 85 mm). [ai.Jdhabi (al-dhabb). An terrify animals and protect themselves from their attacks. bottom (65x137 mm). [al-I~'. A huge fish whose antelope. Among its characteristics is that it eats l!an.ral, oil is used to cure leprosy. a thorny shrub. Page 173, top (35 x 99 mm). [al-lqandar (alPage 389 (46 x 78 mm). lal-IUil. The mountain goat. qunduz). A beaver. An animal that lives both on land It resembles a wild goat and also sheds its horns every year. and in water, that has strategic openings in its abode to both land and water. Page 390 (35 x 72 mm). ibn awi. A jackal. An animal that spoils plants, vegetables and fruits. It is said that if a bottom (35 x 91 mm). qunfud al-ma'. The sea porcupine. It resembles a hedgehog with a fish-like head hen, even perched on a tall tree, sees a jackal it falls down and tail. It is said to be the size of a cow and black in before it and is caught and eaten. color. Page 391 ( 41 x 78 mm). [ai.Jtha' lab. A fox. A cunning Page 174, top (46 x 85 mm). [al-lqUqi. The seal. animal who spreads thorny shrubs around its burrow at night so that if a wolf comes, it gets thorns in its feet and Described as a strange type of fish with a large strong thorn on its head with which it attacks its enemies and dies. overturns boats. Page 392, top (55 x 72 mm). lal-)jarish (al-Juris). bottom (35 x 91 mm). kalb al-mil'. The water-dog. The oryx. A one-homed animal about the size of a goat. bottom (55 x 100 mm). [ai.J kbinzir. A pig. An uglyAn animal whose forelegs are shorter than its hind legs. The female is hunted for its valuable hide. The testicles of faced animal with two tusks like an elephant's. Its back the male relieve the spells of evil spirits. resembles the back of a buffalo. Page 17S (41x91 mm). (al-Jkawsaj. A swordfish. A Page 393 (29 x 65 mm). fbn gbars (fbn ghars algbara.r, a schemer). The weasel. A fat animal with a long fish commonly seen along the coasts of Basra with humantail that catches rats in their burrows. It is an enemy of like teeth that it uses to catch animals and cut them to pieces. When caught at night, it contains an abundance crocodiies and snakes. When it wants to kill a snake, it of fat. eats a poisonous shrub, and the smell of it intoxicates the snake and the weasel can then kill it.

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UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAl!fflNGS AND ILLUSTIV.TED MANUSCRIPTS IN 1liE RAZA LIBRARY, RAMPUR

Page 394 (35 >< 65 mm). lal-larnab. The rabbit. An

animal which gives birth to many offspring at one time. One year all the rabbits born are male and the next all are female. Page 395 (72 >< 150 mm). [al-la.sad. The lion. The strongest and most awesome animal with a wide chest and slim hips, and a loud voice. It is attracted to light at night. It eats the heart of the animals it kills and leaves the rest of the carcass for lesser animals. Page 396 (59 >< 137 mm). lal-lbabr. The tiger. An Indian species is stronger than a lion; lions and tigers are enemies. Page 397 (65 x 150 mm). lal-ldubb. The bear. A bulky-bodied animal that loves to be alone. It is the rival of cows and buffaloes. Page 398 (41 x 72 mm). [al-J4a/aq (al-dala). The weasel. An animal similar to a black cat that is an enemy of pigeons. It approaches the habitats of pigeons and eats them all even if there are a hundred. Paae 399, top (23 x 59 mm). lal-Jstnfab. The squirrel. An animal larger than a rat, which it resembles, and covered with silky hair. bottom (29 x 91 mm). [al-Jsannur. A black cat that resembles a lion and frightens rats. At the time of parturition, it feels intense hunger and is capable of eating its own offspring. Page 400, top (41 x 72 mm). sannur al-barri. A rat-like animal with silky hair on its body. bottom (85 x 176 mm). lal-lstrnas. An animal found in Kabul and Uzbekistan that has twelve holes in its nostrils. When it breathes, it makes a musical sound. %ge 401, top (41 x 72 mm). [al-lsbadbawiir. An animal found in Rum which has horns, and every horn is divided into two parts from which comes a musical sound. Other animals gather around it to listen to its music. bottom (41 x 72 mm). [al-lqabu'. The hyena. An ugly animal rarely seen that digs up graves and eats the bodies. It is said that a rivalry exists between the hyena and the dog. Page 402, top (41 x 78 mm). An animal called in Persian styah gUsb that is little more than a dog. Its coloring resembles that of the young of a camel. bottom (35 >< 72 mm). al-'anza. An animal that is always in search of the young of camels; he attacks them from behind and kills them. Page 403, top (23 x 59 mm). [al-] 'anaq. The lynx. An animal that follows the young of camels and kills them. bottom (46 x 85 mm). lal-Vabd. The cheetah. An animal, unlike the tiger, who loves humans. It is said to be a cross between a lion and a tiger. Page 404 (85 x 169 mm). lal-lfil. The elephant. This huge animal is believed to have no joints except in the shoulders and hips. When it is sick, it eats snakes. Page 405 (53 x 101 mm). [al-lqird. The monkey. An animal, intelligent and humorous. Like man it can learn the arts, like writing [sic] very quickly. Its behavior is n1uch similar to that of humans.

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Page 406 (91 x 137 mm). [al-]karkadan. The rhinoceros. An animal resembling a bull with one long straight horn. It lives up to seven hundred years, feels sexual arousal only at the age offtfty, and has a gestation period of three years. Page 407 (41 x 91 mm). [al-lkalb. The dog. A very strong and faithful animal. Page 410 (60 x 165 mm). [al-lsinand. (al-sinad). An animal resembling an elephant but smaller. When the female is about to deliver, the calfs head emerges first. A birth scene is shown. Page 411, top (70 >< 165 mm). lal-lbabr. The tiger. When it is hungry it attacks all animals. bottom (60 x 90 mm). [al-lnamur. A stag-like animal with saw-like horns. It resembles the wild ox in its behavior.

Birds Page 412 (60 x 90 mm). abu-raqasb (abu barilgisb, finch?). A beautiful, red and long-necked bird that changes color when it is pregnant. Page 413, top (30 x 40 mm). AbU l;larnn. A song bird that sings even at night. bottom (55 x 70 mm). [al-l awuz (al-iwazz). A goose. A water-bird whose young start swimming at birth. Page 428, top (25 x 35 mm). kabak (kabg). A partridge. The Persian name for a beautiful bird found in the mountains. (This page has mistakenly been numbered 429.) m&ddle (25 x 45 mm). [al-l qaj. A bird. bottom (35 x 55 mm). jalUd. The Persian name for a peacock-like, music-loving bird. Page 429, top (60 x 99 mm). [a/-l 'aq- 'aq. A magpie. A thieving bird which picks up ornaments and jewellery, and drops them at another place. (This page is mistakenly numbered 428.) bottom (50 x 66 mm). lal-l 'anqil. The largest of all birds. Here represented as a double-headed eagle. Page 430, top (30 >< 35 mm). [al-Jqafti. Sand grouse. mkldlc (25 x 45 mm). [al-l 'qumri. Turtle dove. A singing bird found in India. bottom (25 x 35 mm). lal-l 'qllqnus. Phoenix. It collects leaves and wood for its nest. The female produces a flame which burns the nest and the young are born from the fire. Page 431, top (90 x 80 mm). ju/Ina. The Persian name for a game-bird whose flesh is fat and brings vitality. middle (60 x 70 mm). [al-)kamwiin. A bird famous for eating snakes. bottom (60 >< 65 mm). yulamar. The Persian name for a long necked bird. Page 432, top (55 >< 70 mm). al-llazin. A kind of heron. mld•He (30 x 40 mm). al makka'. The macaw. A wild bird that attacks snakes which trys to steal its eggs. bottom (55 x 70 mm). kargas. The vulture. The Persian name for a bird that overeats by nature.

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MANUSCRIPTS II.I, 11.2

Page 433, top (90

95

x 80 mm). lat-lnu'ama. The

ostrich. A bird, called sbatur murgb in Persian, that combines the qualities of a bird and a camel. bottom (35 x 45 mm). budbud. The hoopoe. A strange beautiful sweet-voice bird. Reptiles Page 436, top (40 x 100 mm). [aliafa'i. A short viper that is the most poisonous of snakes. Its poison spreads

very quickly throughout the victim's body. When it is sick it eats olive leaves. Page 438, top (180 x 80 mm). [al-ltbu'ban. A dreadful and loathsome serpent. bottom (25 x 40 mm). [alijarad. The locusts. Page 439, top (20 x 55 mm). [al-11/irba'. The chameleon. The Persian name for it is aftab parast. Its skin rums various colors according to the sun's rays. bottom (25 x 6o mm). [aliqalaZ'Un. A snail that lives on rocks on the seacoast. Page 444, top (20 x 45 mm). samm a~. A short legged, long-tailed reptile that is poisonous, even for snakes. It avoids places where saffron grows. bottom (25 x 45 mm). lal-Jsulaf/q'a, (al-sulabfa'> in Persian kasbaf The rurtle. An animal that has an outer shell which make it immune to the cold. It lives on land as well as in water. Page 445 (120 x 140 mm). al-zanaja. The largest of all animals on the earth. If another animal sees the zanaja, it dies on the spot; if it and another animal look each other in the eye, they both die. Page 446, top (30 x 70 mm). al-«:U1s Page 454 (20 x 150 mm). Two winged men with the heads of dogs. Page 455, top (70 x 65 mm). These people are said to be half man and half jinn; they sometimes walk on two legs, sometimes on four. middle (45 x 90 mm). lal-lbagbl. Mule. One of the animals which are mixture of two species, horse and donkey. bottom (105 x 112 mm). An animal that is a cross between a horse and a giraff.Ge

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Page 456, top (95 x 190 mm). A crossbreed of wolf and hyena. A man holds the hind leg of this crearure. mid•lle ( 45 x 90 mm). A cross breed between a dog and a wolf. bottom (80 x 90 mm). An animal with long wings, elephant-like head, and human body. Page 457, top (80 x 70 mm). A human species with two faces, a human body, and a long tail. m!cldle (72 x 70 mm). A human species with two heads and four legs. bottom (40 x 70 mm). A human species with a human head and snake body. Page 458, top (60 x 40 mm). A human species that has no neck and both eyes and mouth are on its chest. bottom (70 x 6o mm). The people of Nasnas who have only one-half head and one-half body. Page 459 (100 x 70 mm). A giant twelve-feet tall who was at the court of the Bulgar king. He had a large head with a long nose and wide eyes. EJtdorse•eJtts: On the fly page, "This book was

acquired by me through inheritance from my father Sayyid Af:unad Gilani f:lamavi al-Barelvi (of Bareilly, in U.P.) through his kindness, in the year 1189 (1775-76) and I gifted it to Maulavi Ghutam l:fadrat in the year 1246 (1830-31)".

A seal dated 1212 (1797-98) probably of one MuJ:iammad Shafi' (the seal-legend is in tugbra). Bxblblliolr: National Museum, New Delhi, 1981.

BlbUograpby: Salah al-Din al-Munjid, "Al-mal:i 'ika fi ~ir al-fanin al-muslimin", al-Htlal 64 (May, 1956):5458. Arshi, Catalogue oftbe Arabic Manuscripts in tbe Raza Library, Rampur 6 (1997):262-63. Kttab 'Afa'ib almakb/14qat wa gbara'ib al-mau!JUdat, ed. Faruq Sa'd, Beirut, 1977. Khandalavala, Islamic Heritage of India (1981), no. 108. Carboni, "Constellations, Giants and Angels from al-Qazwini Manuscripts" (19951, p. 83.

*

II.2

P.3062 (D.B.243) Babiir-1 datdsb ("The Spring of laming") by 'Ioiyat-Allih Kanbo of Labore and Delhi (cl 1082/1671). 487 pages. 270 x 1 SO mm, text box 225 x 112 mm. I column, 20 lines. Sbtkasta. 68 miniatures.

Copied 16 Rabi' 111142/28 October 1729 in Mudgal Fon in the province of Bijapur [today the Raichur district of Kamatakal by Dayanat Rai. Colopborl: "This was written on the date the sixt~nth (16) of the month of Rabi' 11, the year one thousand one hundred and forty-two in the fort of Mudgal in the province of the Abode of Victory (Dar al-lafar; i.e.. Bijapur), in the bad handwriting of one who is more insignificant than a pgef.tglAa ~A'\lal R:ii."

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAINTINGS AND ILl.USTIIATEO MANUSOUPTS IN 1lfE RAZA UBRARY, RAMPUR

Shaykh ' lnayat-Allah Kanbo was the elder brother of Mul)ammad ~ Kanbo, the author of 'Amal-t $iUU,, a history of the Shah Jahan period. He served in a high position in the imperial divan, but he was attracted to Sufism and later renounced the world and lived as a hermit near the shrine of Khwaja Bakhtyar Kaki in Delhi. In addition to the Babilr-t dilntsb, he wrote serveral historical studies (Hadi, Dtcttonary of lndo-Perstan Lttemture, p. 258). The text was written in lo61/1650-51 and consists of a collection of stories presented within the framework of the romance of Jahandar Sulµn and Bahravar Banu. The text boxes are ruled with red, yellow, and black line but there is no illumination at the beginning of the manuscript or elsewhere. Fifty-nine of the sixty-eight miniatures are placed on the outer margins of the pages, and are usually oriented at right angles to the text; the narrow panels measure 225 >< 47 mm. Full and half-page miniatures within the text box begin only on page 418; their measurements are included in the descriptions of the miniatures, next to the page numbers. Even though the marginal miniatures were apparently not pan of the original program for the manuscript, they are appropriate to the surrounding story and are painted in the same style as miniatures within the text box. Heavily shaded faces of some of the bearded men resemble the profiles of the Bijapuri ruler 'Ali ·Adil Shah II (r. 1656-72; Zebrowski, Deccani Painttng, pp. 140-42), while the emphasis on shades of green-for trees, landscapes, and even skies-echoes some Hyderabad! painting of the first quaner of the eighteenth century (Zebrowski, p. 230). The tall narrow format of some of the paintings (fol. 462, pl. 193) is again characteristic of the eighteenth century date.

.11,,,,,,,,,,.s

Ptca ("The Mouae and the Cat"), by ·~I Pkini, Nqam al-Din. al-Quwlnl (d. 772/1371)

(Old)P.394J (D.B.1167) Rlyii(/ ol •allbiibl,, ("Gardens of SecU") by M•buri Nitb Milwi Bnhmin

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gle

Ong na f m

UNIVERSITY OF MICHIGAN

MANUSCRIPTS 111.13, 111.14, 111.15. 111.16, 111.17

111 pages. 271 x 170 mm, text box 198 x 116 mm. 1 column, 14 lines. Nasta 'Tiq. 36 watercolors. Copied ca. 1228/ 1813, probably in Benares, with miniatures in Company style.

< 60 mm). V:imi. Page 81 (60 x 65 mm). Aghori. Page 82 (50 x 45 mm). Surajpanthi. Paac 83 (50 x 45 mm). Ganpati [Gadipati). Page tr7 (50 >< 80 mm). Nanak Shah. Paac 88 (55 x 45 mm and 40 x 40 mm). Udasi (top) and Ganj Bakhshi (bonom). Pnae 89 (55 x 55 mm). Rimra 'i. Page 91 (55 >< 20 mm). Suthrashahi. Page 93 (60 x 45 mm). Gobindsinghi. .Page 94 (80 x 40 mm). Nirmali (top), unidentified (bottom). Pase 96 (55 >< 45 mm). Dadupanthi. Paac 97 (45 x 25 mm). Dhami Pran-nathi. Page 102 (120 x 55 mm). Four drawings: Digambhari [Digambari), Setambhari" [Swetambari), Sravak [Shravak), and Dhondhya [no drawing]. Page 106 (75 >< 30 mm). Madari Pase 108 (50 x 55 mm). Jalaliya. Paac 109 (65 x 30 mm). [Bin:ival. Pase 110 (90 >< 25 mm). Kashmiri Sadhu.

• ill.17 Ur.128 (M.3812). Dllrj-4 '~ {The Casket of Ambergris") by Mnl_lammad Kalb-I 'AD Khin Bahiif:hU' 11""'4 G.sblya. N-wib of Rampur (d. 1304/1886) and pttfat:ie by Mnl;aamm!MI 1.fmsyn Jbn Mnl;aammed 'A& Afshir Khamkbi(l) (d. 1294/ 18/ 1).

Pag.c 34 (40 >< 35 mm). Ramanand. Pag.c 38 (65 x 30 mm). Naga.

216 pages. 345 x 215 mm. 1column , 15 lines. Nasra ·riq. 4 miniatures.

PIF 40 (50 >< 45 mm). Kabir. PailC 49 (55 >< 55 mm). Ballabacharj !Vallabhacharya).

Probably, copied ca. 1886 in Rampur.

Pag.c SO (45 x 35 mm). Nimbabat [Nimbavat).

Paee s1 (55x40 mm). Madhavacharj IMadhavacharyaJ. Page S2 (60 >< 25 mm).-'trivedi.

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Mul;iammad Kalb-i 'Ali Khan was one of the several nawwabs of Rampur who were also authors (see, a Divan of Nawwab Yusuf 'Ali Khao of Rampur tnfra Cat. no .

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111.46), as well as a patron of the arts (see Musaddas-tjan $ii'1ib, Cat. no. 111.19). The writer of the preface, Mul:iammad l:fusayn ibn MuJ:iammad 'Ali Afshar (the Khamachi is not otherwise anested), was a Turk of the Qara Qulii Afshar tribe whose father emigrated to Rampur (U.P.). As a young boy MuJ:ianunad ijusayn accompanied his father on a leisurely seven-year pilgrimage to the holy cities of Mashhad and Karbala, also visiting places in Iran and India, and returning to Rampur in 1240/1824. He spent the rest of his life at the courts of Nawwab Yiisuf 'Ali Khan and his son Nawwab Mul:ianunad Kalb-i 'Ali Khan (Hadi, Dictionary of Indo-Perstan Ltterature, pp. 389-90). Durj-i 'Anbarin gives information on the production of perfumes, a speciality of the Lucknow and Rampur areas. The text is not ruled. There is no illumination in the manuscript and only four miniatures were completed although there are blank spaces for many more. It seems probable, because of the inclusion of the phrase kbuld ashiyan with MuJ:ianunad Kalb-i 'Ali Khan 's name, that the author and probable patron of the manuscript died before it was completed. The watercolors illustrate instruments for the distillation of essences and the preparation of perfumes. They are rendered in a crisp Company style.

the entertainment and titillation of men. An earlier Lak.hnavi poet, Sa'adat Yar Khan "Rangin" (d. 1835) was credited with the invention of the genre (Nairn and Petievich, "Urdu in Lucknow/Lucknow in Urdu", pp. 17071). The Urdu poem is composed of stanzas with six hemistichs ( musaddas). The poem was written for Mul:ianunad Kalb-i 'Ali Khan; the poet Jan ~J:iib speaks of himself as his "salteater" [i.e. in his employment or enjoying his patronage). As there is no colophon it is not clear that the Raza Library manuscript was copied for MuJ:iammad Kalb-i 'Aii Khan but this seems likely. Mul:ianunad Kalb-i 'Ali Khan was also an author, and one of his illustrated worlcs, Durj-i 'Anbarin, on the making of perfumes, is also in the Raza Library (supra, Cat. no. m. 17). The manuscript describes a fair held at Bena;i:ir Palace, near Rampur, during the nawwab-ship of MuJ:ianunad Kalb-i 'Ali Khan; the poet prays to God that "the fair of this celebration be held every year", but it is not known if it was an annual event. The watercolors are in Company Style and give a l1l05t interesting record of the architecture and grounds of Bena.pr Palace, the sralls and vendors; the musicians, singers, and dancers who perfonned at the festival; and the notables who attended the fete.

M""4tures

Page 20 (108 x 131 rnn1; pl. 201). Utensils used to distill rose water, etc. Page 21 (108 x 131 mm). Different parts of the equipment used to distill rose water, etc. Page 22, top (83 x 131 mm). The way to assemble the different parts. bottom (83 x 131 mm). Different parts of the apparatus to draw rose water. Page 70 (108 x 131 mm). The chimney for the apparatus.

• 111.18 Ur.1229 (M.K.6179). Mruaddas1 JO. ~ ("The Poem of Jin ~l;Jlh") or Mruaddas1 /Jefta:,ir ("The Poem of Beo8'ir") by Mir Y-ar 'Ali Khio ~\Jib lakhnavi, known as Jin ~\Jib (d. 1298/1880). 37 folios. 317 x 215 mm, text box 230 x 130 mm. 2 columns, 12 lines. Large nasta •riq. 63 watercolors. Copied during the reign of Nawwab Mul:iammad Kalb-i 'Ali Khan (1281-1304/1865-87), in Rampur. Jan ~al:iib was the most famous among the later Urdu poets of Lucknow who wro< 140 mm). Samba and Hassu Khan, two musicians. Fol 21a (152 >< 140 mm). Alii Khan Mandrii, and two musicians. Fol 21b (152 >< 130 mm). Nanne Khan, the sitar player, and Chhed:i Khan (aha/chi ( 'tablai>layer"). Pol 22a (152 >< 130 mm). Four musicians. Pol 22b (152 >< 130 mm). The singer and rubilb player Bunyad i:fusayn Khan, the son of ... Miyan Khan. Pol 23a (152 >< 130 mm). Amir Khan Binkar, a bin player. Pol 231> (152 >< 130 mm). Miyan Ki~ 'Ali Khan, an expert qawwali singer, and N~r 'Ali PakhawajI, the pakbaWQj player. Pol 24a (76 >< 130 mm). Murad 'Ali Khan Lakhnavi (of Lucknow), an expert khayil/ singer. Pol 24b, top (76 >< 130 mm). Ladhdhat Bakhsh, a courtesan. Pol 24b, bottom (76 x 130 mm). Nauratan. Pol 2Sa (114 x 130 mm). Allah Rakhkhi, Chunnii, and Mammi.

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Pol 2Sb (114 >< 130 mm; pl. 202). Banni of Calcutta, a dancer. Pol 26&(76 >< 130 mm). ·~imAIJah Khan and Rat:Um Allah Khan, two musicians of the Cbaukikbana. Fol 26b (152 x 130 mm). The jugglers (naf) show their skills. Pol 27a (152 x 130 mm). 'Abbasi and 'Aziz, the flower sellers. Fol 27b (152 x 130 mm). On the right, Higan Lakhnavi, a quick-witted courtesan (ranl/i), and on the left, Bundi Jan, Higan's companion. Pol 28a(152 >< 130 mm). 'Ali Jan, a male courtesan (fil'ifa) and joker. Fol 28b (152 x 130 mm; pl. 203). Mir 'Ali of Lucknow, the sbabna 'i player, and two other musicians. Pol 29a (152 >< 130 mm). Storytellers (dilstiln-gos), from the right, Munshi Amba Parsad, Ghulam Mahdi, and Ghutam Ric;t.a Pol 29b (114 x 130 mm). Three storytellers, A.$ghar 'Ali i:fakim, M'rr Nawwab, and Sayyid 'Ali. Pol 30a (114 x 130 mm). Mir Y:ir 'Ali, popularly known as Jan Sal)ib Rekhtigii, the author of this work. Pol 30b (152 x 130 mm). Shaykh Sal).ib ... whose talents, according to our text, surpass Akbar's Nau-Ralan ("Nine Jewels"). Pol 31a (114 x 130 mm). Vakils ("agents") of the ruler of Rampur, whose fame has spread to London, according to our text. On the right, Muµffar l:fusayn Khan and on the left, Il)san l:fusayn Khan, and, on the extreme right, an attendant with an umbrella. Pol 31b (76 x 130 mm). Four poets, Munshi Amir Al)mad Amir, Munshi Muµffar 'Ali Asir, Sayyid l;>amin 'Ali Jalal, and Sayyid Dhaki, with the poetic name Dhaki. Pol 32a (76 >< 130 mm). Khansarnan Vazir 'Ali Khan and Nawwab Mirza Dagh. Fol 32b (95 x 130 mm). Sayyid Mujavir 'Ali. Fol 33a (114 x 130 mm). M'tr Fida 'Ali, the head of the chobdilrs and gate-keepers [at the deo4bis of have/isl. Fol 34a (21 1x130 mm). The canal (nabr) inside the garden at Bena~ir Palace. Pol 34b (114 x 130 mm). People from Lucknow, Kanpur, and Rampur celebrate the birthday of Nawwab Kalb-i •Ali Khan, a yearly celebration. Fol 3Sa (114 >< 130 mm). Entertainers (arbab-t ntsba() musicians, dancers, jugglers, and all-receiving tn'am. Fol 35b (144 >< 130 mm). Some associates of the Nawwab. Fol 36b (171 x 130 mm). Achchhay Sal)ib, the elegy reciter (martbtya ltbwan) with two of his associates.

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122

• III.19 Ur.222. Tapir al~gbal ("A Picture-Dictionary") compiled by MuJ;aammwl AJ;asao 'Ali Khio who also the artist (ft. 1891).

259 pages. 340 x 205 mm, text box 282 x 162 mm. 1 column, 23 lines. Nasta ·riq. 230 pages with illustrations. Copied 1315/1897. It is implied that the dictionary was composed for (and probably copied for) Nawwab Sayyid J:lamid 'Ali Khan, the ruler of Rampur, 1885-1930. This is one of four illustrated manuscripts in Urdu commissioned by the nawwabs of Rampur in the Raza Library. This unique dictionary was probably inspired by European pictorial dictionaries available in India from the mid-nineteenth century onward. The author Mulµmmad A):isan ·Ali Khan is possibly to be identified with Mu):iammad A):isan Bilgrami who served as a physician in Bhopal during the days of Nawwab Shah Jahan Begum, and compiled a Persian-Urdu dictionary named after his patron, Lugbat-i Sbab jabani, in 1296/1878 (Hadi, Dtcttonary of !ndo-Persian Literature, p. 365). The dictionary proper is preceded by a qafida in praise of Nawwab f:lamid 'Ali Khan, the ruler of Rampur State (pp. 4-7). A long list of nouns (pp. 8-27) is keyed to rows of small pictures of object (pp. 28-258; pl. 204, fol. 126a). The versos are blank. The short colophon (p. 259) gives only the date of completion and has a picture of a flower below it.

1270 Hijri (16 May 1854) in beautiful hand and was illustrated, was transcribed by the pen of Mir A):irnad l:fasan al-l:fusayni, kbilsbnavis on the roll of service in this library, at the orders of the highly dignified ('a/i janab, literately, of high threshold) AJ:irnad ' Ali Khan ~a):iib Bahadur, superintendent of the workshops (karlzbanajat) for the library of His High Majesty of heavenly height, the pleasing son of the British government, of exalted dignity, Mukhli\; al-Daula, N~ir al-Mulk, Amir al-Umara, His Highness Colonel Nawwab Sir Sayyid l:famid 'Ali Khan ~al:Ub Bahadue Musta·id Jang, G.C.I.E., G.C.D.O., A.D.C. to His Majesty the King Emperor, the ruler of the state of Rampur, U.P., Hindustan, and it was beautified and bedecked with ornament of illustration at the hand of Mirza Zawwar l:fusayn mU¥'wir, a servant of this state. Year 1337 Hijri. •.

Represerrtallve """"1tutt

Munshi Lalji wrote his concise history of the nawwabs of Awadh in 1270/1853. The Raza Library manuscript begins with the reign of !Burhan al-Mulk) Nawwab Sa'adat Khan (1132-51/1719-39) and ends with the death ofWajid 'Ali Khan in 1272/1856, indicating that the author or another person later added to the !ext. For other copies of the manuscript, see Storey (Persian Ltteralure: A Bio-btbltograpbical Suroey I, part 1, p. 711). The manuscript is written in excellent nasta'Tiq. There is no illumination in the manuscript. The plain red leather binding has marblized paper doublures. The pictures show the coronations of the Awadh rulers, their battles, and n0tables of their court. If the manuscript were not dated, one would suppose that the watercolors were executed in the mid-nineteenth century; they thus must follow illustrations in the original text, of 1854, closely.

Fol 126a (282 x 162 mm; pl. 204). A row of diverse objects.

Mlrdatures

• 111.20 P.2149 (D.B.4780). Mlr'iil al-awl/ii' ("The Mirror of Behavior") or Sul'iill al-1/illiiyiil ("King of Stories") by Munshi Lilfi Ibo Munshi Sbital Parsbid Ibo Munshi Shiv Kwn•r, a resident of Kara (ft. mid-nineteenth century).

592 pages. 340 x 205 mm. 1 and 2 column, 11 lines. Nasta 'Tiq. 48 watercolors. Copied 1337/1918-19 in Rampur for J:lamid 'Ali Khan, ruler of Rampur State, by Mir AJ:imad J:lasan al-l:lusayni kbilsbnavis ("the calligrapher") and illustrated by Mirza Zawwar J:lusayn mU¥'vvir ("the painter"). C.olopbo11: 'This copy, made through correct transcript,

from the copy of janab Sayyid Mu:µffar 'Ali Khan ~aI:iib ra 'is ("chief gentry") of Jansath [in Muzaffarnagar district of Uttar Pradesh), which was written on the 8th ofSha' ban

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Page 147 (268 x 122 mm). Burhan al-Mulk Sayyid MuI:iammad Amin Sa'adat Khan Bahadue, Bahadur Jang (r. 1722 117191-39). Page 16S (268 x 122 mm). Vazir al-Marnilik .6.¢ Jah Nawwab Abu al-Ma~r Khan Bahadur, entitled ~fdar Jang (r. 1739-54). Page 187 (268 x 122 mm).~Jah Vazir al-Marnilik Nawwab Shuja' al-Daula Jalal al-Din l:faydar Khan Bahadur, Shuja' al- Mulk (r. 1754-75). Page 206 (268 x 122 mm). Vazir al-Mamalik Nawwab ~f al-Daula Yal:iya Khan Bahadur Hizabr Jang (1775-97). Page 218 (144 x 122 mm). Amir al-Daula l:fayd{ar) Beg Khan Bahadue, a deputy of Sarfaraz al-Daula Na.pm al-Mulk l:lasan Ric;ta Khan Bahadue; it is very likely that this is a portrait of the latter. Page 219 (132 x 122 mm). Raja Takit Rai. Page 220 (268 x 122 mm). Amir al-Daula l:faydar Khan Bahadur. Page 23S (268 x 122 mm). Vazir 'Ali Khan, the adopted son of Nawwab Asaf al-Daula Bahadue seated, holding a sword, \¥ith two. attending soldiers (r. 1797-98).

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MANUSCRIPTS 111.19, 111.20

PllF 247 (192 x 122 mm). Nawwab Yamin al-Daula Sa' adat 'Ali Khan Bahadur Mubariz Jang seated with a sword in his hand (r. 1798-1814). Pate 7:72 (216 x 122 mm). Ghazi al-Din l:laydar in his coronation robes seated on a terrace. His full titles are: Abu al-Muµ.ffar Shah-i Zaman Ghazi al-Din l:laydar (r. 1814-27) Pate 279 (268 x 122 mm). Prince M"uza, the heir apparent, M"inii N~ir al-Din l:laydar, who was presented with a special kbil'at ("robe of honor"), innumerable jewels, palanquin, an elephant with a howdah, and the privilege of cbowki (" mounted-guard") and naubat ("drums") on the occasion of the coronation of his father. Paaammad al-P-arisi (fl. Brst half of the sixteenth century). 140 pages. 182 x 120 mm. 1 column, 10 lines. Cursive script. 24 miniatures. Copied 3 jumada I 1216/11 September 1801.

Colopbcn&: 'This Tillt'nama was written for the sake of (original name overwritten with the name) M"1t Navazish 'Ali ... Imam 'Ali(?) on the date 3rd of the month of Jumada I, the year 1216 Hijri." The author was a pupil of Ghiyath al-Din Ma~iir Shirazi. He composed several works on astrolabs as well as works

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128

on astrology. The Ttllt'nama treats of the influence of the signs of the zodiac on the lives of men and women. 1here are twenty-four images corresponding to the twelve months of the year as they influence both male and female (see Storey II, pt. 1, pp. 83-85, 115). The more familiar Hindi names followed by zodiac names in Latin are given in brackets after the Persian names. There is no illumination and the pages are unruled. The miniatures are rendered in a bold folk Style in thick pigments including dark orange, pink, gray, dull green, dull yellow, white, and black; there are no backgrounds. The compositions often pile up several images one on top of another; they seem to be taken from pounces that are too big for the space allotted. For example, on page 71 (pl. 208), a snake held by a demon is shown in front of a fallen man who in tum is in front of an elephant. The results are not unlike the dream images of the early twentieth-century RUMian artist Marc Chagal. M""'1ltlres

P.a,e 11 (75 x 80 mm). Mekh Ras IMesha Rishi; Aries), decrees for men. hF 18 (72 >< 80 mm). Butj-i Thaur, in Hindi, Brilch Ras IVrishabha Rishl; Taurus), for women. This would seem to be a mistake, for Mekh Ras, for women. pege 23 (80 >< 73 mm). Brilch Ras IVrishabha R.ashl; Taurus), for men. pa. . 30 (75 >< 80 mm). Brilch Ras IVrishabha Rash!; Taurus), for women. hF 36 (95 >< 80 mm). Mithun Ras IMithun R.ashi; Gemini], for men. pa. . 42 (80 >< 95 mm). Mithun Ras IMithun Rishi; Gemini], for women. Paae 47 (110 >< 90 mm). Kark Ras [Karka Rishi; Cancer), for men. Paae 53 (110 >< 90 mm). Kark Ras (Karka R.ashi; Cancer), for women. pa. . 58 (100 >< 90 mm). Singh Ras [Simha R.ashi; Leo), for men. P.. . 65 (100 x 90 mm). Singh Ras [Simha R.ashi; Leo), for women. pege 71 (95 x 80 mm; pl. 208). Kanba (sic, Kanya) Ras [Kanya R.ashi; Virgo), for men. Page 77 (95 >< 90 mm). Kanba (stc, Kanya) Ras [Kanya Rishi; Virgo), for women. Page 82 (85 >< 90 mm). Tula Ras (Tula Rishi; Libra), for men. pege 88 (75 >< 95 mm). Tula Ras (Tula Rashi; Libra), for women. hF 93 (95 >< 90 mm). Bitjh(ch)ikh Ras (Vrishchika R.ashi; Scorpio), for men. pege 100 (85 >< 90 mm). Bitjhlchlikh Ras (Vrishchika R.ashi; Scorpio), for women. Paae 104 (85 x 90 mm). Ohan Ras (Ohana R.ashi; Sagittarius) for men.

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pe. . 111 (75 >< 100 mm). Ohan Ras (Ohana Rishi; Sagittarius), for women. Paae 116 (90 >< 90 mm). Makar Ras (Makara Rishi; Capricoml, for men pe., 123 (100 >< 100 mm). Makar Ras (Makara Rishi; Capricoml, for women. Page 126 (75 >< 90 mm). Kumbha Ras [Kumbha Rishl; Aquarius), for men. P8F 132 (85 >< 90 mm). Kumbha Ras (Kumbha Rishi; Aquarius], for women. P.. . 135 (75 >< 80 mm). Min Ras [Mina Rishi; Pisces), for men. Page 140 (75 x 80 mm). Min Ras IM"ma Rishi; Pisces), for women.

• m.26 P.4123 (M.K.5511). MllSb va ...,.,,_ ("The MoUle and the < 94 mm. 2 columns, 10 lines. Nasta ·riq. 16 miniatures. Copied nineteenth century. This is the second of two copies of MUsb va guma in the Raza Library (also, supra, Cat. no. Ill. 16). The simple paintings are rendered in thick "poster paint" with the figures outlined. The most amusing picture shows the capture of the cat by the mouse army (p. 13). M""'1111ns

P.. . S (102 >< 94 mm). The cat killing and finally eating the mouse. paae 6 (102 >< 94 mm). Mice in the presence of an enthroned cat. Pa1e 8 (119 >< 94 mm). The cat in friendly conversation with the mice. Page 9 (85 >< 94 mm). The cat accompanies the mice. pe. . 10 (85 >< 94 mm). The mice mounted on horses attacks the cat. Page 11 (68 >< 94 mm). The cat in chains is led to the mouse king. Page 12 (68 >< 94 mm). The cat mounted on an elephant fights the mouse army. Page 13 (85 >< 94 mm). The mice overpower the cat. Page 14 (85 >< 94 mm). The armies of the cats and mice fight again. Page 16 (85 >< 94 mm). The cat is again captured by the mice and led before the mouse king P.ae 17 (85 >< 94 mm). The cat in chains being taken before the king (similar to p. 16). Page 18 (102 >< 94 mm). Similar to pages 16 and 17.

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MANUSCRIPTS 111.25, 111.26, 111.27, 111.28

Ps:a.c 19 ( 102 x 94 mm). The cat about to be hanged. Ps:a.c 20 (102 x 94 mm). The cat produced before the king of the mice. Page 21 (85 x 94 mm). The mice celebrate their victory over the cats.

III.27 Misc.51 (M.Jt.4999).'Ajii'lb 111 ••llbliiqat "'" gbllra'lb"' •llWj#tlat by al-QawioI. 7.akarlyi Ibo Mu\'•mmad Ibo M•\Jnriid ( cl. 682/1283), In Ul aooO}'IDOUI

Paalan transladon.

553 pages. 207 x 195 mm, text box 220 x 120 mm. 1 column, 17 lines. Nasta'liq. 197 miniatures. Copied second half of the nineteenth century.

p, 'OIHmlltlC« Seal of Mul)ammad Kalb-! 'Ali Khan dated 1296 (A.0 .. 1878-79).

The manuscript is acephalous and begins with the seventh description of the first clime, as stated in the gold heading on page 1. There is an endorsement giving an account of the expenses incurred for the book in Arabic notations: "Completionl-cosd of the book. Transcription. (ltUabal), 73(?) juz' and 4 folios (WQraq) at 5 juz' one rupee, 70 [rupees] 8 (annasl; border·.sort (JadvaJ-guna), 1 juz'at one rupee, 6 juz', 6 rupees; paper-work (ltagadb-ltari), 3 quires (dasta) and 3 sheets (takbta) at 10 (annas?) per quire, 2 (rupees)... (annas); pictures (fa$Virtit), 3? (rupees); and binding (jtld)., 2? [rupees) 8 [annas)". A similar itemization of expenses is given for Ms. 111.7. The miniatures are in a simple style which may best be de.scribed as folk art.

• IIl.28 P.1580 (M.K.8690). DIHlllbira-1 l•ll-4Mi ("The Secrets of Alcunder [the Great)"}. 97folio.s.170x 120mm. l column, 12 lines. Cursive script. 19 miniatures. Copied Tuesday 3 Sha'ban 1246/17 January 1831 .

(SO x SO mm). A crowned man holds a woman by her hair; a talisman for bravery and courage. Fol ISO& (40 x 50 mm). A youth rides a bird; a talisman that gives one wisdom. Fol lSOb, top (30 x 65 mm). A dragon with its body arranged in two curls; a talisman that gives one wisdom and acquaintance with scholars. bottom (30 x 65 mm). Two serpents; a talisman to give one wisdom. Fol ISia (40 x 35 mm). A woman who has the lower body of a scorpion; a talisman to cure one of bleeding. Fol 1S2a, top (40 x SO mm). A scorpion; a talisman to protect a city from snakes. bottom (40 x 96 mm). A dragon with its body arranged in two curls; a talisman to save a city from an onslaught of snakes. Fol 1S3a(SO x 35 mm). A warrior armed with sword and shield; a talisman to save a city from high winds. Fol 1S3b, top (SO x 35 mm). A youth shooting an arrow; a talisman to save a city from rain and flcxxls. bottom (35 x 40 mm). A crab inscribed in an eightpointed star; a talisman to cure fever. Fol IS4b (40 x 30 mm). A seated crowned figure; a talisman to keep a woman forever beautiful. Effllorsemcmts: First flyleaf, top, "The ownership of this book, by the decree of the Munificent Almighty was transferred from my master Maulavi Sana al-Din to His creature, the hopeful of the mercy of His Nourisher, the lord of bounties, at the time when seven nights had remained from [the month oO Dhi [al-I Qa'da, the year six and seventy and two hundred after one thousand from the Migration (Hijrat) of the most noble Prophet, may God's salutations and peace be upon him and upon

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133

his progency (23 Oho aJ-Qa'da 1276/11June186o). Oh God, bless me, my forefathers, and my progeny, all with Your mercy, oh most Merciful of the merciful!" Bottom, on the right comer, "This was purchased on Monday the year [Hijn1 1274 in the city of Meerut (Uttar Pradesh) in the last ten [days) of the month of Rajab (20-30 Rajab 1274/ 6-16 March 1858). [Signature otl Mulµmmad [part of his name his father's name is not legible due to a cursive flourish)".

Blb1'og1apby: 'Alshi, CalaJogueoftbeAmbicManuscrlpls tn the Ram Library, Rampur5 (1975), pp. 506-07.

111.32 P.41S6b (M.X.276). Hqft _..,.. ("Se+en Throna") by Jimi, Nm al-Din 'Abel al-Ra'1min (cl. 898/ 1492), Incomplete. 385 pages. 295 >< 182 mm, text box 190 >< 112 mm. 4 columns, 21 lines. Nasta •riq. 9 miniatures. Copied between Ramac;lan 972/13 April-12 May 1564 and Rabi' II 9n/ 13 September-It October 1569 in wt/ayat-t Bakbarz (in the district of Bakharz [Khurasan)) by Mulµmmad ibn 'Ala' al-Din Reza-i, with miniatures added in India in the nineteenth century. Colopbot1s: "Written in the month of the blessed

Ramac;lan, the year 972 (13 April-12 May 1564)", p. 126; "The book was finished with the help of the obliging Lord, on the date, the month of Ohl aJ-Qa'da 974 (20 May-18 June 1567)", p. 230; and "Written in the month of Rabi' II, the year 977 (13 September-11 October 1569). It was written by the sinful creature hopeful [of God's mercy) Mulµmmad son of 'Ala' al-Din Reza-i, may his sins be pardoned and his defects be overlooked. This was completed in the district ofBakharz in the village of Reza", p. 385. Pr-owt1areu: Belonging to the courtier Nur al-Din Quli Khan, 1754.

The manuscript presents only five of Jami's seven malbnatiis: Tu}/fat al-al/rilr (pp. 2-48), Subllat al-alJrilr (pp. 50-126), Yitsuf va Zulaykba Cpp. 128-230), I.ay/a va Majnun (pp. 232-325), and Kbtradnama-t Iskandari(pp. 328-85). There are two complete illustrated copies of the Haft aurang in the Raza Library (infra, Cat. nos. IV.27 and IV.31) and one of Yi.lsuf ua Zulaykba, the most popular book of the septet (infra. IJI.61). The calligraphy and some of the illuminations are of fme quality. The sarlau~ (pp. 2-3) has seven lines of text surrounded by four rectangular panels with floral decoration on the lapis background and blank gold cartouches; a narrow black band edged in red and gold separates the centre and marginal ornament. There are four 'urwiins in similar Style ~ 50, 128, 232, 328). For

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comparable Khurasani illumination, see infra, Ms. IV. 4. The writing on all pages is surrounded by a white reserve, on a gold background; we believe that the border illumination was added at the same time as the miniatures. The outsides of the nineteenth-century lacquerpainted binding have centre medallions with gilded vine scrolls, arabesques, and cloud bands standing in low relief. The doublures show centre medallions with flowers on a field of staggered rows of pink flowers, on a red background. Two of the outer comers of the binding are missing. A complete copy ofJami's Haft aurang in The Prince of Wales Museum, Bombay, with forty-three miniatures, was made by the same Mulµmmad ibn 'Ala' al-Din Reza-i in 971/ 1564. In the colophon of this manuscript, the scribe says he is working in the city of Reza in the district of Bakharz, an area south of Mashhad (Ms. 55.102; Skelton, "An illustrated manuscript from Bakharz," Internattonal Congn!SS of Iranian Art and Arr:bttecturf!, Vtb, Teheran, p. 198; the city "Reza" is mistakenly read as "Zarrah" by Skelton). The same calligrapher produced another copy of the five books ofJami's Ha.ft aurang, again in the district of Bakharz, in 973-741156~ (Bibliotheque Nationale, Paris, Supple. persan 547; Richard, Splendeurs Persanes, p . 172, no. 116. See his list of other manuscripts by Mulµmmad ibn 'Ala' al-din Katib Reza-i. The miniatures in the Raza Library manuscript were added in northern India, probably during the first half of the twentieth century. Mllrlaluru

J'U.crfat al-a(niir P'ge 18 (118 >< 112 mm). A disciple (murid) pays respect to his pir.

Paae 32 (100 >< 112 mm). A tortoise is transported by two flying ducks, all three holding a stick in their jaws. They are observed by astonished spectators.

5"b (1at al-abriJr Paae 63 (135 >< 112 mm). Angels shower light on Shaykh Sa'di. Page 99 (126 >< 112 mm). An old man carrying firewood is made fun of by a proud young man.

YUsiff va Zuloyllba Paae 139 (135 x 112 mm). Adam, enthroned and in the company of other prophets, admires Ylisufs beauty. Paae 166 (135 >< 112 mm). Yusuf is comforted by an angel as he languishes in.a well. Paae 181 (126 x 112 mm). Zulaykha surrounded by women of her court in a flower garden. Paae 191 (144 >< 112 mm). Ylisuf resists Zulaykha's sexual advances. Paae 209 (108 >< 112 mm). Yusuf meets with his aged father and his brothers.

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134

B~ On the flyleaf,

ten seals all either effaced or not properly inked as well as notes and endorsements that are mostly rubbed out. An oval seal on the right, of Nur al-Din Quli Khan; below it is written, "The servant of the court gifted [this book] to the fortunate light of the eyes [i.e., his son) Mir Nur al-Din Quli Khan on the date 14th of Rama~n 1167 (15 July 1754)." Another oval seal, not properly inked, at five places, appears to be of the same Nur al-Din Quli Khan 2 lregnal year] / 1164 (175051). A note in calligraphic nasta•riq reads, "The book Kbamsa belonging to Nur al-Din Quli, Value, o ne (hundred] rupees·. Anothe r nearby notes reads, "The Kbamsa of the venerable Mulla 'Abd al-RaJ:un.iin Jami on account of (i.e., received as] offering (pesbleasb) of...Lutf al-Din (?)". There is also a note "Folios ninety and...."

Blbllograpby: Hafiz Nazir Ahmad, "Notes on Important Persian Mss" (1918], p. cccxiv, no. 223.

• 111.33 P.3307 (M.K.381). JJiva. ("Collec:ted Po< ms") of l(amil al-Din fbn M.u'iid known as KamiLI KhufaNli (d. 803/ 14-00--01).

599 pages. 320 x 200 mm, text box 212 x 118 mm. 2 columns, 11 lines. Nasta'Tiq. 4 miniatures. Copied 3 Jumada II 1007/ 1 January 1599. in India, for Mul)ammad Sa'id by Jalal al-Din Mal)mud al· f:lusayni, with nineteenth century miniatures. ColopbOfl: "Finished the book with the help of God the

generous Lord, under the orders of his majesty, the illustrious nawwab of heavenly authority, Mul)ammad Sa'id on the date the 3rd of the month of Jurnada II, the year 1007. Wrinen by Jalal al-Din Mal)mud al-f:lusayni, may he be pardoned.· ~

Owned by ~adiq, a disciple of Shah Jahiin (r. 1627-58); owned by Mul)ammad Shih, 1149-50/ 173638. The poet was born in Khujand, Transoxiana (modem Tajikistan), but migrated to Tabriz where his patron was the Jalairid ruler Sul1an f:lusayn ibn Uways Cd. 1382). He was carried off to Saray by Tokhtamish, Khan of Qipchaq, where he remained from 787/1385 to 791/ 1389, then returning to Tabriz. During his second sojourn at this city, Timur's son Mir.in Shah, the governor of Azarbayjan, was his patron. An unusual aspect of his gbazals is that they are all of uniform length, ofseven verses (Browne, Litemry History of Persia 3, pp. 320-30). The script, in part written diagonally, is on gold sprinkled brown or cream paper. The text has been given new cream margins. The ' unvan was executed in India, ca. 1600. Four paintings were late r added to the manuscript in a bland late Mughal style that uses much gold. Digitized by

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M*"""'' •• Page 160 (170 x 118 mm). Kamiil-i Khujandi presenting his gbazals to the king [Mlnii M"triin Shah ibn Timur!. Page 365 (170 x 118 mm). Kamiil-i Khujandi faces an armed guard and declares that there is no need to kill him with a sword, for he can be as easily killed by the presence of his beloved. Women are sho wn in the background. Page 475 (170 x 118 mm). Kamal-I Khujandi talks with a companion and expresses his anguish at his long separation from his beloved who did not once inquire about him. Women are shown in the background. Page 534 (170 x 118 mm). Kamal-I Kh ujandi presenting his gbazals to a patron. II#Ulors•:n•lll.: On the flyleaf there is an · are,laula: "Inspected on 25 Sha'ban, the lregnal) year 19 Mul;iammad

Shahi [A.H.1149-50; A.O. 1736-38.J" There are two square seals of Nur Mul)ammad son of 'Abd al-Shukur; an oval seal of Ghulam Nabi dated 1186, 14 or 15 [regnal yearl (A.O. 1772·73), and the seal of ~adiq under an endorsement that reads, "The owner of this ... (cut oftl ~diq az jiin ["by his soul; sincerely"], a disciple ( mu rid) of Shah Jahan ."

• 111.34 A.3690 (M.3818). Klliib ft Ma'rflat

al-~ al-

ba•daslya ("A Book of Knowledae About .Mechanlca.I Devk:a") by al-Jazari, Jsml'il Ibo alRanjz (0. late slxth/twdfth c::cntury). 285 pages. 231 x 145 mm. 1 column, 21 lines. Cursive script. 170 miniatures on 135 pages. Copied eighteenth century (?) in India. The text concerns the making of water clocks, magic drinking vessels, hydraulic instruments, and like devices. It was written between 595/ 1198 and 597/ 1200 at the Artiqid cou:t in Diyarbakir, a city in modem south-western Turkey. Fou:teen illustrated Arabic copies of the text, most of them dating to the thirteenth century, are mentioned in the literature ( 7be Book of Knowledge of Jngentous Mechanical Devices, trans. and annotated by D.R. Hill; and E. Alil, Art of the Arab World, p . 149, note. 12). Another Indian copy, illustrated in Delhi style of ca. 1800, is in The New York Public Library (Spencer, lndo-Pers. Ms. 2; Schmitz, Islamic Manuscrtpts tn tbe New Yori Public Library, pp. 165-68, figs. 1 59~1). A Persian translation of al-Jazari's text entitled ·Aja'tb al-Sana ·1· ("The Wonders of Mechanics") was made by Mul;tammad ibn Da' ud Shiidiyabadi for N~ir Shah, the sultan of Malwa (r. 150010; Losty, 1be Art of tbe Book in India, p. 41, no. 43). The manuscript has no rulings or illumination . The illustrations are in a bold, simple style, in a limited palette Original from

UNIVERSITY OF MICHIGAN

MANUSCRIPTS 111.32, 111 .33. IU.34, 111.35

of green, red, yellow, white, and black. The dark-skinned figures have faces in three-quarters view or full-face; the features include distinctive triangular eyes, often with the pupils set cros.s-eyed (p. 79; pl. 212). Men usually wear a fined gannent with a gored skirt that reaches almost to the ankle, a wide waist sash, and a gored cap or small turban (p. 171). The long skirts of some of the costumes suggests a date at the beginning of the eighteenth century but other costumes reflect the clothing of the thineenthcentury Arab prototypes. The compositions also closely follow ones established earlier (for example, compare Hill, Book ofKnowledge ofIngenious Mechanical Devices, fol. 94r, pl. 32 and p. 8, pl. 211). Repre~ M""""-•

Page 8 (200 x 145 mm; pl. 211). Arches and columns with their embellishments, for the place water clock. Page 79 (171 x 102 mm; pl. 212). A surveyor with his equipment. Bibliography: 'Arshi, Catalogue of the Arabic

Manuscripts in the Raza Library 5 (1975), pp. 38-39. LAHORE

• 111.35

a.,__

P.3076 (M.K.563). Sbant'-1 ("The Candle (Le., the I.igbt) of the Asecmbly") by Bu1iq Beg Naqshbancli (act. 1140/1727). 587 pages. 275 x 175 mm, text box 205 x 125 mm. 1 column, 13 Jines. Nasta'fsq. 14 miniatures. Copied Dhii-al-J:lijja 1234/ 21 September-19 October 1819 "in Lahore". Colopbo,.: "This copy of Sham '- i anjuman was

completed in the month of Dhi al-l:lijja, the holy Hijri year one thousand and two hundred, thirty-four. It was written in the time of the caliphate of the king of Jamlshidl's dignity, the asylum of creatures, one with starlike (i.e., innumerable) army men, ofSolomon's grandeur, King Ranjit Singh in the Abode of the Caliphate (i.e., Lahore), at the hands of (i.e., by) the sinful one (his name is not given). If there may have occurred any error and mistake, it should be overlooked {lit., forgiven).• This is followed by one couplet of the same purport and an Arabic axiom, "The man is liable to error and to amnesia". This story was wrinen in 1140/1727, during the reign of Mulµmmad Shah and at the request of Nawwab A'izz alDaula Zakariya Khan Hizabr Jang. The author is possibly to be identified with a MuJ:iammad Bulaq, alias Mulla Bulliqi, active during Aurangzeb 's reign (Ha di, Dictionary ofIndo-Peman Literature, p. 382).

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135 According to the colophon, the manuscript was copied in 1234/1819 during the reign of Ranjit Singh in his capital of Lahore. The fust two illustrations may retlect a hitherto undocumented Lahore style of this period (p. 5 and p. 65, pl. 213), but the remainder of the painting (for example, p . 112, pl. 214) as well as the simple ' unmn (p. 2) are in the style of the studio of Imam Bakhsh, a prolific Lahauri artist of the 1830's, and must have been added some ten-twenty years later. A folio between pages 161162 has been removed from the text and a blank piece of paper inserted in its place. The life of Imam Bakhsh, the chief painter and probable founder of a nineteenth-century Lahore manuscript style, is well documented. He painted portraits of the French generals Allard, Court, and Ventura employed by Ranjit Singh and their families (J.-M. Lafont, La Presence Frartfatse dans le Royaume Sikh du Penjab: 1822-1849, pp. 320-25; and frontispiece; Skelton et al., Indian Heritage, no. 108). He also produced drawings and illustrated manuscripts for his French patrons (M. Lobligeois, "Les miniatures indiennes de la collection Feuillet de Conches", Am Asialtques 47 (1992):19-28, 56). Some eighty-five manuscripts of Persian literature, history, etc. have been documented by us that are illustrated either by him or by artists working in his style; they were probably made for Indian clients and sold in the Lahore bazaar (see, for example, Schmitz, Islamic Manuscripts in 1be New York Public Library, pp. 157, 179-86; the manuscript made for 'Abd al-Majid Khan Multani Sadoza'i has been reassigned to Lahore, ca. 183035; and Lafont and Schmitt, "The Painter Imam Bakhsh of Lahore", After tbe Great Mughals (2002), pp. 74-99. Mlldablres

Page 5 (176 x 125 mm; pl. 213): top. The author and his associate in the presence of the nawwab. bottom. The author presents a copy of his Sham '-i anjuman to the nawwab. Page 65 (192 x 125 mm). Rajadhiraj in conversation with a princess. Page 112 (192 x 125 mm; pl. 214). A prince accompanied by an old man in the presence of his father, the king, tells of an encounter with a sorceress. Page 192 (144 x 125 mm). A Hindu ascetic (sanyasi) is introduced to the governor of Malwa. Page 205 (205 x 125 mm). An amir expresses his belief in the temporal nature of the world in the presence of the king. Page 217 (144 x 125 mm). Two wise men narrate a story to Raja Bikr.imajit about the mortality of the people of the world. Page 245 (128 x 125 mm). Raja Bikr.imajit receives leners from the ruler of Turkistan and Indian amirs. Page 339 (205 x 125 mm). A spiritual guide (mursbid) is received by a king at his court.

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Page 379 (205 x 125 nun). A king holding court at the capital Delhi. Page 403 (205 x 125 nun): top. A trader from Iran who anives in Delhi by way of the Deccan meets his relatives. bottom. The trader meets a dervish. Page 411(205x125 nun). A prince meets a mystic in his monastery (kbanqab). Page 417 (205 x 125 nun). Courtiers congrandate a king who resumes the throne after having abandoned it. Page 432 (205 x 125 nun): top. Sultan Fuiizshah consults his amirs, instructing them to arrange a boat for him. bottom. Sultan Firui.shah lies dead. Page 530 (205 x 125 mm). A gnostic(' iirlj) advises a prince not to give undue attention to worldly affairs. 1he prince is on horseback and his advisor i.s in the foreground; a beautiful young woman is seen on a terrace above.

III.36 P.3226 (M.K.737). Ktllllyiil ("'Collected '\Vora") of Sa'di. AbU 'Abd.Allih Mmhamf al-Din Ibo MUf~ of Shiraz (d. 691/1292). 671 pages. 350 x 212 mm, text box 210 x 120 nun. 2 columns, 13 llnes with 32 lines on the biisbtya. Nasta ·riq. 33 min.iatures. Copied 17 Rabi' II 1244/28 October 1828 in Lahore by izad Bakhsh son of the late Imam Bakhsh son of the late Sa'd- Allah (pp. 1-258), and 1268/27 October 1851-14 October 1852 in Rampur by Sukhbasi La'l (pp. 259-671). Colopboa: 'Thanks Clit., obligation) are due to God that the blessed copy of Gulistiin, a work by l;lac;lrat Sa· di Shirazi, was completed in the handwriting of the insignificant humble one of supplicating nature izad Bakhsh, son of one taken into the mercy of God (i.e., the late) Imam Bakshsh kbUsbnavis ("the calligrapher"), son of the pardoned (i.e., the late) Sa'd-Allah, in diir alsa/fanat ("city of the realm") Lahore, on Monday, the date 17th of the month of Rabi' II the year one thousand, two hundred, forty, and four, 1244, of the holy Migration (Hijrat)", p . 258 (end of the Bi4stiin, on the margin). "The most insignificant creature Sukhbasi La' l, a resident ofRampur, in the year 1268 (27October1851-14 October 1852) of the Migration (Htjrat), may blessings and peace be on the emigre", p . 671.

All pages have the script reserved in cream on a golden background. The first opening of the text (pp. 23) has eight lines of prose text within an illuminated frame, with an additional thirty-two lines of poetry on the borders (biisbiya); these are the first lines of Sa'di's two most famous works, Gultstiin and Bustiin

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respectively. The simple nineteenth century brown leather binding has gold rulings. The calligrapher izad Bakhsh also copied an Iskandarniima now in the Raza Library in 1833 (tnfra, Cat. nQ. III, 37) and completed another copy of Ni.µmj's Iskandarniima "at Lahore" 11~afar1244123 August 1828 (Khuda Bakhsh Oriental Public Library, Patna, H.L. no. 280; Muqtadir, Catalogue of tbe Arabic and Persian Manuscripts tn tbe Oriental Publtc Library at Bankfpore 1, no. 44). In these manuscripts he signs his name izad Bakhsh walad-t ("the son of") mtyan Imam Bakhsh kbi4sbnavis ma~um ("the calligrapher, deceased") ibn Sa'd-Allah. The famous Lahauri painter with the name Imam Bakhsh is thus not the father of the calligrapher izad Bakhsh for paintings signed by him are known after 1828, and the two colophons specify that izad Bakhsh's father is dead by that year; furthermore this Imam Bakhsh was not a calligrapher. However, the style of the illustrations in the three manuscripts that Izad Bakhsh signS are all in the Uhauri qalam associated with Imam Bakhsh, suggesting that the calligrapher may be a relative of the artist and that he was working in Imam Bakhsh's atelier in Lahore. izad Bakhsh's large fine nasta'Tiq pos.sibly set the calligraphic style for a group of poetical manuscripts produced in this city subsequently. All of the illustrations are in the section written by izad Bakhsh, ending on page 258. They were executed slightly after the date in his colophon, 1828. Most of the face and hands of living creatures were mutilated by an iconoclastic owner and strangely repainted as n05egays of flowers (p. 37, pl. 215). Mlfllatuns Page 6 (210 x 120 nun). The mi'riij. Page 15 (128 x 120 nun). Sa'di tells a friend that he is resolved to compose the Gultstiin. Page 26 (128 x 120 nun). A prince on horseback goes to make war on his father's enemies who are invading the country. Page 30 (128 x 120 nun). Among the robbers led before the king Is a young thief, and the king's vizier pleads for his life. Page 37 (128 x 120 mm; pl. 215). A vizier advises the king to be considerate towards his subjects but the king rejects his plea and sends him to prison. Page 50 (128 x 120 mm). Sa' di pleads for one of his friends before the ¥lQtb-t awiin ("prime minister"). Page 58 (112 x 120 nun). A cruel person entrapped in a well is pununeled by the same stones that he once threw at a pious man who was similarly Imprisoned. Page 6o (128 x 120 nun). A fanner's son in the presence of a sick king who wanted to kill the boy and eat his liver in order to cure himself. Page 68 (144 x 120 mm). A young wrestler who challenged his teacher is defeated by the older man who has taught his student all but one of his wrestling holds.

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MANUSCRIPTS 111.35, 111.36. 111.37

Ps®C 73 (144 x 120 mm). A man posing as a 1'0.fi and a poet in the presence of the king. Page 80 (144 x 120 mm). lskandar of Rum (Alexander the Great) explains to courtiers why he was able to conquer lands in the east and west while others could not. Page 92 (144 x 120 mm). A rich man traveling by camel falls from his mount in the presence of a poor dervish who travels by foot. 9S (144 x 120 nun). Sa'di enjoys feasting and music with friends. Psr 101 (144 x 120 mm). Sa' di with a group of pilgrims going to an isolated place to pray. Psr 108 ( 128 x 120 nun). A devout man ('abUJ) seated on a throne, receives homage from his followers. PEF 112 (112 x 120 nun). A dervish visilS a rich person in his home. PEF 129 ( 128 x 120 mm). ResidenlS of lskandariya (Alexandria) w ho a re victims of famine e n joy the hospitality of a rich man of bad character. PEF 133 (128 x 120 nun). A poor youth asks the king If he might entertain him during a hunting expedition. Psa,e 138 (112 x 120 mm). The son of a strong man asks a prince to help him return to his home. Page 147 (112 x 120 m m). A prince and his associates hunting. Psa,e 16o (128 x 120 mm). A prince on horseback visilS a young man with whom he has fallen in love. Psa,e 168 (144x120 mm). A parrotandacrowshare a cage. Pay 172 (144 x 120 mm). Sa'di given refreshment by a young woman of low o rigin. Par 17 4 (144 x 120 nun). Sa'di In the courtyard of the mosque at Kashghar listens to a young boy reciting his (Sa'di's) poetry. Psge 178 (128 x 120 mm). An Arab king who is privileged to have a vision of Layla and Majnun does not find Layla of oulStanding beauty. Psge 180 (112 x 120 mm). A qtl4i of Hamadan talks with the young son of a ferrier with whom he is in love. Psr 183 (144 x 120 mm). The q04i makes love to the youth. Psge 189 (112 x 120 mm). An old man enjoys the company of a young w oman. Page 196 (128 x 120 mm). A rich man sees a young lady who is offe red to him in marriage. 199 (128 x 120 mm). A king talking with his son's tutor. Psr 201 ( 128 x 120 nun). StudenlS in school fight one another in the presence of a pious teacher. PsF 207 (128 x 120 mm). An innocent dervish is imprisoned for the acts of his son. PIF 223 (128 x 120 mm). Two quarreling men ask a qtl4i to settle their problems. Par 226 (144 x 120 mm). A meeting between a pious qtl4i and a wealthy man.

Par

Par

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Psa,e 235 ( 144 x 120 mm). A discussion between a Muslim and a Jew. PsF 256 ( 144 x 120 mm). Sa' di, after f1nishing the Gultstan, describes his work to two men.

• ID.37 P.397 5 ( M.K.479). lslla•llorrtii•a ("Tale of Alecandcr [the Great]") by Nqami, Nqam al-Din AbU Mul}•mmacl llyis Ibo Yiisuf, of Ganja (d. 6o6/ 1209). 477 pages. 320 x 210 mm, text box 240 x 125 mm. 2 colullUlS, 15 lines. Nasta 'Tiq. 19 miniatures. Copied V.S. 29 Asoj 1890 or A.H. 27 ju~da 1249/ A.D. 6 October 1833 probably in Lahore by lzad Bakhsh ibn Imam Bakhsh ltbiJsbnavis marl,um ("calligrapher, the deceased").

< 95rnm). A vizier who loves hunting.

Copied 11 Ohu al-Qa' da 1260/22 November 1844 probably in Lahore.

chasing a deer. Pagc 113(152 x95 mm). The consummation of the marriage of Bilqis's mother and father. Peer 117 ( 152 x 95 mm). The mother of Bilqis dies after giving birth to Bilqis. Pna.c 127 (133 x 95 mm). The father of Bilqis in the presence of Shah Sharakhi. Pngc 155 (133 >< 95 mm). The budbud ("hoopoe") arrives at Bilqis's court with a letter from Sulayrnan. Page 1 7 1 (171 x 95 mm). Sulaym an's letter presented to Bilqis. PJllC 187 ( 171 x 95 mm; pl. 221). Sulayrnan dictates an answer to Bilqis's letter. Page 188 (171 x 95 mm). Sulayman's letter is delivered to Bilqis. Page 208 (171 x 95 mm). Bilqis takes rest in her bed attended by a seivant. Pna.c 7:77 ( 133 x 95 mm). Sulaymanconsultsa zilbid who sits beneath a tree. Pna.c 305 (133 >< 95 mm). Sulayrnan in a deserted place, helpless. Pna.c 326 (133 x 95 mm). Bilqis and Sulayrnan sitting together with attendants. Pngc 329 (133 x 95 mm). Detts in the presence of Sulayrnan, who is their master. Pnv 336 ( 133 x 95 mm). A man telling a mystic an unusual story about a fish. Page 35 3 (133 x 95 mm). Butimar ("a heron') brought to Sulayman by a dog.

c.olopbort: 'The blessed copy [of the book) imparting

lllblloa• opby: Hafiz Nazir Ahmad, "Notes on Important

lesson to Oit., adding to the lesson o0 the hearts of the wrong-minded men and providing solace to the mind of those intending to tread the spiritual path ((ariqat) [namely) Tavarikb-1 Sulaymani, along with the ~-i Bl/qis [was) written on the date 11 of the month of Dhi Qa'da the year 1260."

Persian Mss" (1918], p. ccxlv, no. 59.

• m.40 P.1885 ()I.JC 88). T~~ ~ ("History of Solomon") aod fllffl'~-Bllijia ("Talc of BUqis") . 372 pages. 290 x 170 mm, text box 208 x 95 mm. 1 column. 11 lines. Nasta'rrq. 18 miniatures.

The work ls about the prophet Sulayrnan (the biblical Solomon] and Bilqis [the Queen of Sheba) whom he marries. The name of the author does not appear in the text. The · unvan is rendered in a simple Lahauri style with light blue replacing lapis l.a zuli and a pale gold. The miniatures a re painted in the style found in Lahore after the death of Ranjit Singh in 1839 and before the British conquest of the Punjab in 1850.

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• m.41 P.3924 (M.JC.562). Khlilfl'~ S~ wleo called Tiirillb~ Dllbsb41 S"-sbir KIHMi or Tlirill· I S"-sbir Kbilll by Tawaklr.ul Ibo 'fOlek llq (ft. mld-flC\'eOteentb century). 549 pages. 276 x 175 mm, te.xt box 215 >< 115 mm 1 column, 15 lines. Large nasta •rrq. 63 miniatures. Copied ca. 1840-50 probably in Lahore. This is the second copy of Tawakkul ibn TUlak Beg's abridgment of Firdausi's Sbilbnama in the Raza Ubmy;

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MANUSCRIPTS 111.39, 111.40, 111.41

141

boch were made in Lahore in the second quarter of the nineteenth century (see supra, Cat. no. III. 38). There is one simple ' unvan in Lahore style, on page 1. The compositions show a new type of landscape, with clumps of t.all dark green grass and no rocks influenced by European art. The figural style derives from Lahore manuscript painting of the Ranjit Singh period, and still features the distinctive annoured breastplates of the Sikhs as shov.'ll in earlier miniatures (p. 416).

Pllge 14S (215 x 115 mm). Rustam about to kill a

sorceress. PR;ge 152 (150 x 11 5 mm). Kay Ka 'iis embraces Rustam. PR;ge 156 (145 x 115 mm). Rustam kills the White Dev.

Paae

19 1 (215 x 115 mm). Suhr.ib fights with

Rust.am. Page 198 (150 x 115 mm). Rustarn mourns over the dead body of Suhr.lb who is revealed to have been his

son. M""""'1ws

Page 7 (145 x 115 mm). The mt'raj. Page 9 (110 x 115 mm). Devs offer their aid to Kay(Jmarth. Page 10 (140 x 115 mm). Kay\Jmarth enthroned. Psae 12 (150 x 115 mm). Tahmurath fights with the devs. Page 15 (130 x 115 mm).Jamshid receives the advice of his counselors. Psae20 (145 x 115 mm). lblis("the Devil") disguised as a physician in the presence of i;>a~ak. Page 36 (125 x 115 mm). Jamshid entertained by t;>al:tl:lak 's daughter. Pllge 40 (200 x 115 mm). The execution ofJamshid at the order of i;>a~ak. Psge56 (215 x 115 mm), Faridlln arrives at Dahhak's palace. · ·· Pllge 62 (120 x 115 mm). l,)al;i.l:lak imprisoned in a cave at the order of Faridun. Page 68 (135 x 115 mm). Iraj approaches his two brothers Salm and Tlir and offers the Iranian throne to them. Psae 73 (135 x 115 mm). Tlir cuts off lraj's head. PRae ~ (215 x 115 mm). Minuchihr beheads Tiir. rzae 86 (215 x 115 mm). Salm and Miniichihr in battle. PRge 94 (215 x 115 mm). Rudaba lying in bed prior to the birth of Rustam, and the arrival of the simurgb who advises Ziil and Sindukht to cleave one side of her, to pennlt Rustam 's birth. Page 97 (110 x 115 mm). Mihrab Kabuli and Sam discuss the love affair of their children, Rudaba and Ziil [page bound out of order]. Pllge 99 (140 x 115 mm). Rustam as a child kills an elephant. Page 118 (130 x 115 mm). Rul:tl:tam, the son of Tahmasp ascends the throne in the presence of mobads. Page 128 (145 x 11 5 mm). Rustam parleys with Afrasiyab. Page 140 (215 x 115 mm). As Rustam lies sleeping, a soldier kills a multi-headed dragon. This scene replaces Rustam's horse Rakhsh killing a lion while Rustarn sleeps, as called for by the text. Pzae 143 (215 x 115 mm). Rustam with Rakhsh 's help kills a dragon.

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Page 234 (165 x 115 mm). The body of Siyavush in front of Afcisiyab [in Firdausi's text his head on a tray was

presented to Afr.isiyab]. Page 242 (115 x 115 mm). Rust.am fights with Pnsam. Page 244 (140 x 115 mm). Rustam fights with Afr.isiyab seeking revenge for Siyavush's murder. Page 265 (145 x 115 mm). Rustam embraces Kay Khusrau upon the occasion of his ascending to the throne of Iran. Page 269 (145 x 115 mm). Tiis and Giv fight with the Turanians. Page271 (170x 115mm). F"lflidwhohasbeenkilled in battle by Bizhan is mourned by his mother jarira. Page 274 (155 x 115 mm). A pitched battle between the forces of Fanburz and Piran. Page 27 9 (170 x 115 mm). Afrasiyab's forces overpower Kay Khusrau 's army. PRF 295 (155 x 115 mm). Rustam lassos the ltbaqan of China and pulls him from his elephant. Page 302 (155 x 115 mm). Akvan Dev carries the sleeping Rust.am, to throw him into the sea. Pq.e 306 (155 x 115 mm). Rust.am kills Akvan Dev. P.ge 310 (160 x 115 mm). Gurgin tells Bizhan about a meadow visited every year by Manizha with her companions. Pate 324 (140 x 115 mm). Rustam approaches Afrasiyab as he lies sleeping. rsa.e 335 (150 x 115 mm). Rust.am fights with Barzii, his grandson. Page 340 (160 x 115 mm). Rustam, about to kill Barzu, is stopped by Barzu's mother who tells him of her son's lineage . Page 3S7 (155 x 115 mm). Barzu fights with Afrasiyab. Page 371 (155x115 mm). Kay Khusrau presented with a tray and a dagger to execute his prisoners, Afrasiyab and his brother Garsivaz. Page 400 (155 x 115 mm) . Gushtasp selects Isfandiyir to succeed him to the Iranian throne. Page: 409 (160 x 115 mm). lsfandiyar fights with Kuhram, the son of Arjasp. Page 416 (160 x 115 mm). lsfandiyar kills wolves [here with tiger stripes]. Page: 418 (160 x 115 mm). lsfandiyar kills a lion. PRge 422 (150 x 115 mm). lsfandiyar kills a dragon. PR:a.e 423 (160 x 115 mm). lsfandiyar kills a witch. 0 119 na t 01

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142

Pae< 115 mm). A tavern scene with ijafi.~ watching ascetics (zabtds) drink wine. P711C 126 (132 >< 115 mm). lskandar holding a minor sits with his court. PEee 132 (144 >< 115 mm). Above, Majnun in the wilderness and below , Layla in her camp with her associates. PEae 142 (144 >< 115 mm). Jamshid enjoying wine and music. PEae 151 (132 >< 115 mm). In the morning, l:laf'~'s beloved arrives at his bedside and asks him to awaken. PEae 157 (114 >< 115 mm). Mal)mud of Ghazna and his court. PEae 171 (144 >< 115 mm). l:laf'~ at the court of the vizier 'Imad al-Din Mat,imud who is feasting and drinking wine. Psae 177 ( 144 x 115 mm). l:fafi~ in conversation with a beautiful woman. rsae 181 (144>< 115 mm). l:fafii enjoying a musical assembly. Psae 2o6 (144 >< 115 mm). !:fill~ enjoying music and dancing. Page 215 (144 >< 115 mm). Hafii whiledrinkingtwoyear-old wine, enjoys the company of his fourteen-yearold beloved. PEae 222 (156 >< 115 mm). Ayaz offers his locks of hair to Mal)mud of Ghazna. Psae 227 (144 x 115 mm). Majnun watching Layla riding in a camel liner. Paac 237 (144 >< 115 mm). Bahram hunting onegar with a lasso (kamand). Page 241 (156 >< 11 5 mm). l:fafii enjoying the company o f a fourteen-year old beloved. Page 249 (156 >< 115 mm). l:fafi~ in the presence of Shah Shuja'. Page 257 (156 >< 115 mm). Khalil Allah [the prophet Ibrahim) sitting in tlames that have miraculously turned into a garden. Page 264 (144 >< 115 mm). An old woman, whose false news ofShirin's death led to Farhad's suicide, stands near Farhid's body after he has killed himself. Page 270 ( 156 >< 115 mm). The Shah of Turkan throws an enemy into a well. Page 283 (132 >< 115 mm). l:fafi.i in the court of the prophet Sulayman (Solomo n). PE&e 293 (132 >< 115 mm). l:fafi~ asks his beloved not to be cruel to him. Pnae 305 (132 x 115 mm). Ayaz in the presence of Mal)mud of Ghazna. Pni!IC 316 (156 x 115 mm). J:iaf~ in the presence of

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Sulayman as a devil takes away a ring carved with the tsm-t A '; am ("the greatest name of God"). ....e 330 (132 >< 115 mm). l:lafi.i watching a very beautiful lady who is sitting with her companiom. Paae 342 (156 >< 115 mm). l:lafi.i enjoying wine and music with a charming woman. PE;ae 357 (156 >< 115 mm). l:lafi.iwith two men who later die "struck by the sword of beauty". PsfF 372 (132 >< 115 mm). In order to forget his agonies, l:laf'li drinks wine with a charming lady. Page 382 (132 >< 115 mm). Greedy traders sell YUsuf to the king of Egypt.

• m.53 Pu.8 (M.Jt.3455). I1iviM ("Collected ~aw·) of 'Abel al-••~n, known • Rabmln B"-1 (ft. ca. 1800).

470 pages. 196 >< 160 mm, ruled 144 >< 100 mm. 2 columns, 9 lines. Large naskb. 72 pages with miniatures, some with several scenes.

Copied Ramacjan 1219/ 14 December 1804-13 January 1805 in Kashmir by Mut,iammad Shah Balkhi, under the supervision of Mulla Mut,lammad Khalifa. c:olopbort: ''ust became free from the transcription of this work, the Divan of 'Abd al-Rat:unan, in the blessed month of Ramacjan, Thursday, in the year 1219 (the day of the month is not given-6, 13, 20 or 27 of December 1804) in the city of Kashmir (kbt[ta-t Kashmir, kbt{14 means any place marked with a boundary line, like a city, fort, pargana, district, etc.; the capital of Kashmir on coins and in Mughal historical works is usually mentioned as Kashmir and not Srinagar, to avoid confusion with Srinagar of Garhwal in Unar Pradesh). It was written at the desire of ... [left blank, that is, a patron had not yet been found) under the supervision ( tbttmam) of the mainstay of accomplishment and perfection, Mulla Mut,iammad Khalifa, in the handwriting of Mut,lammad Shah Balkhi, at the time of mid-day prayers (namlu-t-pisbin)." Then follows four Persian verses usually written by copyists, in the same hand as the copyists of the manuscript but in naskb. Prof>eflll•u: Owned by Prince Ibrahim, son of a Durrani

Afghan ruler, who was probably the first owner. 'Abd al-Ral)man Baba was a poet from Afghanistan who wrote in the Pashtu language. He lived as an ascetic dedicating his life to prayer, He is said to have visited India. There is a double page sarlaul.J in Kashmiri style but with light blue replacing lapis. It encloses five lines of poetry. Flo ral illumination is fo und in rectangles formed by centering the final couplets of the poems.

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MANUSCRIPTS Ul.52, ID.53

151 The manuscript Is Important as it demonstrates that the style of painting and illumination used for Persian and Hindu manuscriptS made in Kashmir was also used for ones in Pashtu. For other manuscripts with similar minatures, see Adamova and Greek, Mtntatures from Kasbmirl Manuscripts. M#tdtll#ns

Page 16, top (55 x 100 mm). The hospitable Arab l:fatim Tai distributes alms to the poor. boaom ( 40 x 100 mm). l:fatim Tai converses with a miserly person. Page 2 1 (1 10 x 100 mm). Fir'aun (P haraoh) , represented here as a devotee of Shiva, sits befo re a ltngam praying attended by two Brahmins and three youthful courtiers. Paae 28 (95 x 100 mm). A poet holding a book of his verses reads his story of Layla and Majnun, who are pictured in the upper half of the miniature. Three animals listen to the poet reading. Pase 37 (95 x 100 mm). Four members of the 'u/amil ("religious scholars") in conversation with the prophet KhiQr; they ask for his blessings in their search for correct religious doctrine. Paac 48 (95 x 100 mm): top. King Ibrahim Adham of Balkh renounces his throne to become a Sufi. left. Mall.$Ur-i l:fallaj put to death at the gallows (dar'). _rfaht. The lovers Layla and Majnun seated together; Layla ho lds a volume of Majnun 's poems. hgc 54 (95 x 100 mm). King Mal,lmud of Ghazna with courtiers and an ascetic. His beautiful servant Ayaz stands on the bottom left. P.ae 6' < 100 mm). Ayaz as a child presented to an old man in the presence of Mal,lmud of Ghazna. P.ae 16o (86 >< 100 mm). A pious person advises people to lead a pious life; his story includes reference to Layla and Majnun who are pictured seated together on the right. P.ae 167, top rfaht (37 x 45 mm). Zulaykha dreams of Yllsuf. top left < 45 mm). Layla dreams of Majnun; a reclining man Cher husband) is depicted next to her. bottom right (39 >< 45 mm) . A man who has renounced food and other worldly needs sitting in a pit. bottom left (39 >< 45 mm). Due to the changing nature of the world, a king becomes an ordinary person and is shown sitting with his wife. Paae 173 (78 >< 100 mm). Majnun and Layla seated beneath a tree with a man and a woman seated on either side of them . Paae 175 (78 x 100 mm): top. Q;iriin, a worldly man, in conversation with a Brahmin who wo rships an idol on the right. boctom. A prince out riding accompanied by several retainers is seen by a shephero. Pq,e 189 (90 >< 100 mm). The prophets Sulayman (Solomon), Musa (Moses), ' Isa (Jesus), and KhiQr confer. P.ge 196 (76 >< 100 mm). In the foreground, l:fatim T~ 'i and a retainer on ho~back preceded by a page with a horn, and above, ' Isa disputes with the Dajjal ("the Antic hrist"). P.ac206. toprlgbt (45 >< 45 mm). Layla andMajnun seated beneath a tree. top left (45 >< 45 mm). Two of the bourtsof Paradise in a garden.

boaom rfaht (45

>< 50 mm). Two lovers converse.

Onginal from

UNIVERSITY OF MICHIGAN

MUGHAL A.lllD PERSIAN PAll\'TINGS AND IUUSTRATED MANUSCRIPTS IN TiiE RAZA LIBRARY, RAMPUR

152

bottom left (45 x 50 mm). Qarun seated, in a roundel. Pzae 220 (90 x 100 mm). A king, a beggar, Majniin, and another man, all of whom will die; only the simu'8b who flies above lhem is inunortal. Pzae 229 (106 x 100 mm). A king and his court. Pzac 243 (106 x 100 mm). Yl1sufs brothers throw him into a well. rzac < 77 mm). Khusrau spies Shirin bathing in a stream. Fol 160b (110 >< 77 mm). Farhad carries Queen Shirin and her horse. Fol 213a (110 x 77 mm). Khusrau feasting. Fol 248a (110 >< 77 mm). Khusrau murdered by his son Shiriiya as he lies sleeping.

Prov.-ru:e: Given to Mul)ammad Sa' id Khan, the Nawwab of Rampur (1840-55), by Nawwab Karim-Allah Khan.

• 111.61

Each page has an illuminated border with a thumb piece in the center of the outer margin ornamented with pink and orange flowers. The books retains its original lacquer-painted cover with floral designs; it is in good condition.

203 pages. 170 x 110 mm, text box 110 >< 68 mm. 2 columns, 11 lines. Nasta •riq. 26 miniatures.

Mhrlalures

Copied ca. 1835, probably in Kashmir.

Prv 27 (165

Provnattce: Owned by Fayc;l Mul)ammad, 1836-37. The book was purchased through(?) Rasul Baba Maulavi by Uthman Kana'i ibn ~iddiq Kana'i ibn Ghaffiir Kana'i in

x 100 mm). The young Khusrau asks his father for clemency. Page 40 (165 x 100 mm). Shirin asks Shapiir about Khusrau whose portrait she has just seen.

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P.4179 (D.B.4979). Y-ustif va Zulayllba by Jimi, Niir al-Din 'Abd al-Ral;lmin (d. 898/1492).

1857.

Original from

UNIVERSITY OF MICHIGAN

MANUSCRIPTS 111.58, 111.59, 111.60, III.61, 111.62

159

The seal of Fayc;l Mut:iammad of 1252/18 April 1836-6 April 1837 appears on the final page, and judging by the style of the miniatures, he was probably the fust owner of the book. The 'unvan (p. 1) decoration includes a dark murky blue, replacing lapis. The miniatures are in the Kashmiri Style typical of this period.

Page 362 (80 x 68 mm). Yusuf and Zulaykha sleeping, and Yusuf has a vision of his old parents. Page 367 (70 x 68 mm). The angelJibra 'TI present~ an apple to Yiisuf. Page 373 (70 x 68 mm). Zulaykha mourns the death ofYiisuf. Page 376 (90 x 68 mm). The poet Jami completes the story of Yusuf and Zulaykha.

Milrlaluns

l!rulorserrunrts: "On the date the 15th ... (the month's name is undecipherable, but looks like August - ' Agast') the year 1882 (A.O.) through ~adiq (?)... for seven (?) rupees. (Signed) the servant of the court .. . (the name is not legible])." The square seal below the note appears to be that of the writer of the note, but as it has not come out well, the owner's name cannot be determined. 111e two slightly smaller square seals are of Fayc;l Muf:iammad. Its legend reads: "The world is bright through the bounty (fay4) of [Prophet) Muf:iammad, 1252 (18 April 1836-6 April 1837)."

Page 18 (90 x 68 mm). The mt'rilf Page 27 (80 x 68 mm). 'Ubayd-Alhih Ai)r.ir with one of his followers. Page 45 (90 x 68 mm). 'Ubayd-Allah Af:u'3r narrates the story of the creation of this work. Pa&e SO (80 x 68 mm). The birth of Yusuf. Page S6 (90 x 68 mm). Zulaykha with her court. Page 65 (90 x 68 mm). Yusuf appears before Zulaykha in a dream. Page 76 (90 x 68 mm). Zulaykha talks with her daya ("nurse"). Page 84 (90 x 68 mm). Zulaykha meets Yusuf in her dream. Page 92 (90 x 68 mm). Zulaykha sees Yusuf in another dream. Page 116 (90 x 68 mm). Yiisuf in the presence of the vizier of Egypt, while Zulaykha has her fust glimpse of Yiisuf from her tent with the aid of a mirror. Page 134 (90 x 68 mm). Yusuf as a boy with his father Ya'qub. Page 151(90x68 mm). Yusufs brothers throw him into a well. Page 155 (90 x 68 mm). Merchants draw Yiisuf out of the well. Page 163 (90 x 68 mm). Yusuf bathes in the Nile in preparation to being sold in Egypt. Page 176 (90 x 68 mm). Mariya, a woman of loose morals, falls in love with Yusuf, and becomes a pious woman. Page 213 (90 x 68 mm). Zulaykha sends her daya to make arrangements for Yiisuf to come to her garden. Page 230 (90 x 68 mm). Zulaykha takes Yusuf to seven pavilions, all of them decorated with pictures of Zulaykha and her slave Yusuf as lovers. Page 261(70x68 mm). An infant testifies that Yiisuf is innocent of all sin. Page 272 (70 x 68 mm). Zulaykha shows her beautiful new servant Yusuf to her friends, and they are so distracted by his beauty that they cut their fingers rather than the fruits they hold. Page 313 (90 x 68 mm). The king of Egypt asks his vizier to interpret his dream. Page 336 (70 x 68 mm). Yiisuf, now the king's vizier, passes through the street and is seen by Zulaykha, who has become an old hag. Page 353 (80 x 68 mm). Zulaykha, her beauty restored, is embraced by Yusuf.

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Flyleaf at the end, "Uthrnan Kana 'i (?), the son of ~iddiq Kana 'i (?), the son of Ghaffiir Kana 'i (?) purchased this book Zulaylebilb (stc). .. [three or four wo rds art'. erased, probably something like ' through') Rasul l!C1ll~i Maulavi (?)on the 15th of the month of Rabi' II 1274 (3 December 1857)". [The word Kana'i which appears to be the family name or surname is rather unusual.)

• 111.62 P.3116b (D.B.156). Diiriibfliinul ("The Story of Dirib") or Tiirillb~ Diiriibi ("The HJstory of Dirib") by AbU Tahir Mu~ammad ibn l;lasan ibn 'Ali Ibo Miisi al-TIU'lriisi (fl. unknown); with the preface Qatlii va qadar (MI>fvine Decree and Fate") by MuJ;>ammad Gh11lim Rasiil ibn i,ao~ Shaytdi 'Abd al-Ral;>im, with the pen name Dilshid (fl. 1210/1795), pp. 1-31. 548 pages. 510 x 300 mm, text box 385 x 180 ntn1. 1 column, 27 lines. Nasta'fsq. 56 miniatures. Copied in the 1820s or early 1830s in Kashmir, with miniatures added in the 1830s in Lahore. According to Ivanow, this work (which he calls the Alebbilr-t Darab) is •a comparatively r-.ue and old romance of Alexander and Darius with enormous accretions of tl1e most fantastic accidents, without any connection with the historical fact" (Conctse Descrlpttve Catalogue of tbe

Per.>ian Manuscripts tn the Collection ofthe Asiatic Society of Bengal, p . 138, no. 321). It is loosely based on Greek sources, such as the story of Vamiq and 'Adhrii · (~t'.e supra, Cat. nos. III. 49 and 57). The dates of the author are unknown but Dilshad's lengthy prose preface to this work (here placed at the end of the manuscript) was

Original from

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PA.IN'l1NGS AND ILLUSTRATED MANUSCIUYl'S IN lliE RAZA LIBRARY, RAMPUR

160

written in 1211/1796, a date expressed as a chronogram in the title Qa4il m qadar. An outstanding copy of this

work, with 157 miniatures, is in the British Library, Oriental and India Office Collections (Or. 4615; Tidey, Mtntatures from Peman Manuscripts: Cata/cgue and Subject Index ofPatnlt"BS tn tbe British Ltbmry and British Museum, pp. 8-11, no. 18) and was executed by Akbar's painters ca. 1580. Another copy of the Darabninna, with 183 miniatures, in the National Museum of India, New Delhi (53.29), is from Lahore, ca. 1835-40. The Darabnama in the Prince of Wales Museum, Bombay (Acc. no. 63.19) has miniatures added on the margins in the twentieth century (for pictures only see, Moti Chandra, "An mustrated Manuscript ofthe r>arab Nama", pp. 3~3). The thick paper is dark cream. The 'unvans (pp. 1, 424) are in the Kashmiri style of the 1820s, and feature large arabesques as also found on contemporary Kashmiri shawls. The illustration cycle is incomplete with spaces left blank for additional paintings. The miniature cycle, on the other hand, is by an artist trained in the Lahore style of the 1830s. The miniatures are unfinished: the backgrounds of the miniatures, which include rocks and tents as usually found in Lahori painting, are completely painted and the figures are colored but lack outlines and facial features. Presumably a master painter would have added these important details. The manuscript demonstrates the manner in which a large atelier was able to maintain a unity of style in their illustrated books. A copy of Firdausi's Sbilbnama of ca. 1830 in the Khuda Bakhsh Library, Patna (Vol. 31,Cat. no. 1793) has miniatures in both Kashmiri and Lahori styles; its mixture of styles again suggests that artists and manuscripts moved somewhat freely between the two major centers of Indian book production in the 1830s. Mllrlatuns

f'llF 67 (98 x 180 mm). A merchant complains to the chief (ami~ of an island. f'llF 70 (98 x 180 mm). Mihr.isp and Tamrusiya lying on a mattress see apes in a tree and are frightened. Paac 72 (98 x 180 mm). A black man comes in the guise of Fiiri/Fori; he ties up Mihrasp with his mattress, and both of them relate their state of affairs. Paac 74 (98 x 180 mm) . Mihrasp and Tamrusiya on a boat that is followed by apes that walk along the coast. Paac 76 (98 x 180 mm). On Vaqvaq Island, Mihrasp and Tamrusiya see a tree with fruits Uikel the heads of men suspended from its branches. Paae 78 (98 x 180 mm). A mer-man (mardum-t ilbi) coming out of a girl who is among the group of people on the shore; Mihr.isp and Tamriisiya catch hold of her and l.isten to her lament. Psgc 80 (98 x 180 mm). Mihrasp sees on an island blue-colored naked men with yellow eyes (one eye is on the forehead), long hair, yellow chin-pits, and red beards.

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Prg.e 82 (98 x 180 mm). Gauhar (sic; Kiih) Asa, the wife of Faiµliis, the king of Malakiit Island and after his death, Mihrasp's wife, opens the coffin of Faiµliis, and the snake which was on the chest of Farta!iis in the coffin, comes out and bites Gauhar (sic; Kiih) Asa and she dies. Psgc M (98 x 180 mm). Liknad!Laknid/Lulcnad shuts up Mihrasp in a chest and throws it into a river and appoints ten keepers to watch it. Paac 86 (98 x 180 mm). Two perls ("fairies") cany away Tamrusiya to the banks of the river (deus come after them and intend to carry off Tamriisiya when the perts sleep). Page 91 (98 x 180 mm). Darab's wife sitting on a platform 10,000 gaz("yards") high and 10,000 gazbroad, made of ivory on Kandarf Island. Page 93 (98 x 180 mm). The trader Satahriin (sic; Sahtariin) who was killed by his traveling companions on the bank of the river, and his female slave who lives and mourns for her master. Prge 98 (98 x 180 mm). Three women, Tamrusiya, Zangdaly:i (the Queen of the Zangis), and 'Adhra ' with Khwaja Haranqalis/Hamaqalis. Paac 104 (98 x 180 mm). Tamrusiya holds D:ir.ib's head on her knees and Darab regaining his senses. Page 118(112x180mm). Hiira (orRihura, the sister of Tamrusiya) on the throne (takbtl mourns the death of her parents, along with her female servants and kinsmen. Psgc 121 (112 x 180 mm). 'Abqarhiid, with hands tied, brought into the presence of Darab. Psge 123 (112 x 180 mm). 'Abqarhiid put on the gallows (dar) by order of D:irab. Page 124 (112 x 180 mm). Tamrusiya in a watchtower (marq:ar) spies a boat. %gr 127 (112 x 180 mm). Darab and Haranqalis/ Hamaqalis setting out to meet the Haykal ("a magic figure") as Tamrusiya lies dead. Paae 130 (112 x 180 mm). Lilcnad/Lalcnad/Lulcnad killed by a snake (or cobra). Paac 137 (112 x 180 mm). Darab praying to God for union with Humay. Page 139 (112 x 180 mm). D:irab celebrating. Page 142 (112 x 180 mm; pl. 230). The sons of M~a'liq kill their father and tear his vizier Shiiyarl>ek/ Shuvayrbek into pieces. Page 144 (112 x 180 mm). Kuh Asa takes Humay and her bodyguards captive and goes with them to Qa~r·s camp. Page 149 (112 x 180 mm). Humay and Rashnavad/ Rishnavad conversing with each other. Paac 152 (98 x 180 mm). Flrii.z.shah orders ajal/ad ("executioner") to beat Sikandar !hereafter, lskandar) with a wooden cudgel (chub) as lskandar's mother N:ihld cries out from behind a lattice screen (panjam). Page 154 (98 x 180 mm). Flrii.7.Shah strikes N:ihid on the nose and cuts it off, and then chases lskandar to kill him.

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UNIVERSITY OF MICHIGAN

MANUSCRIPTS m.62, m.63

161

Page 157 (126 x 180 mm). The sons of Filqlls enter the bedchamber and kill their father and Nahid, the mother of lskandar, and lskandar fleeing into the kitchen hides in an oven (tandur). Page 162 ( 126 x 180 mm). Iskandar who has adopted the guise of a maidservant (kanizak) kills the Malik of Rum and his mother with a dagger. Page 164 (126 x 180 mm). Iskandar in the monastery of the philosopher (/?akim) Aras!a!alis (Aristotle) who interprets lskandar's dream as foretelling his kingship. Page 166 (126 x 180 mm). Iskandar orders that ten bakims be put to death and that rll'iizshih be hung. Page 169 (126 x 180 mm). Iskandar orders that Arastatilis be imprisoned. Page 174 (154 x 180 mm). The majlts ("assembly") of Shih Darab and the coming of the three philosophers of Iskandar' s court, AraS!atalis [Aristotle), Faliqiin, and FilasUn !Falatiin or Plato and Farffiriy(is or Porphyrius were the other two philosophers). Page 177 (154 x 180 mm). D:irab's army fights lskandar's army. Page 178 (154 x 180 mm). Iskandar takes the head of Darab in his lap and laments; Dar.lb was killed by two of his slaves. Page 183 (154 x 180 mm). PUrandukht [disguised as Bahram, the son of Shirzad) sits on a golden chair and orders the killing of some of Iskandar's amirs; the heads of those amirs are suspended from the neck of Suhrab and he is sent to Iskandar. Page 185 (154 x 180 mm). Piirandukht mounts a night attack on lskandar's camp and the commander (stpabbud amir) is taken captive. Page 190 (140 x 180 mm). Piirandukht wages a fierce battle at the Madrasa-i l:falab (Madrasa-College of Aleppo); she falls from her horse but this is a trick and lskandar's army is put to flight. Page 191 (154 x 180 mm). Piirandarakht [stc; PUrandukhtl sits on the throne of Aleppo after capturing the fort and plundering the treas ure of lskandar. Page 19S (154 x 180 mm). An executioner kills Khiinyas as PUrandukht escapes. Page 197 (154 x 180 mm). lskandar sees the supposed head of Piirandukht on a lance above the Aleppo fort and asks the people of Aleppo to surrender. Page 199 (154 x 180 nun). PUrandukht riding the Shahbar horse comes out of the fort and turns towards lskandar's army moving like the wind. Page 201(154x180 mm). PUrandukht unseats two of lskandar's pablavans, Tarmas and Qastas, and takes them under her power, and entrusts them to her soldiers. Page 204 (154 x 180 mm). Piirandukht wrestles with the pablavan Alivan on the moat of Aleppo, and the Riirni (Alivan) is defeated. Page 2o6 (154 x 180 mm). Piirandukht's horse storming the horses of Iskandar and savaging many of them.

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Page 210 (154 x 180 mm). Piir.indukht occupies the throne in lstakhr and kills her mother with a mace; Tarmas and Qastas stand before her. Page 249 (154 x 180 mm). PUrandukht takes refuge in a cave; she goes in further when lskandar asks her to come out. Page 252 (154 x 180 mm). A maidservant in the presence of Qastas. Page 257 (154 x 180 nun). Piirandukht comes to the throne of Sis{lirnsis/Si~is and kills the king and all his servants and maidservants; she then places Tarmas and QaS!as on the throne. Page 259 (154 x 180 mm). Piirandukht in the presence of lskandar. Page 262 (154 x 180 nun). PUr.indukht disguised as Bahram, the son of Shirzad in the court of lskandar. Page 264 (154 x 180 mm). lskandar questions men loyal to PUrandukht. Page 268 (154 x 180 mm). Bahram [PUrandukht in disguise) brought before lskandar. Page 271 (154 x 180 mm). The next morning PUrandukht, disguised as Bahram, is again brought before Iskandar. %ge 274(154 x 180mm). lskandarand PUr.indukht marching towards Aleppo. Page 275 (154 x 180 mm). Altiiniya, Milad, and PUrandukht in the presence of lskandar.

• m.63 P.3949 (M.K.280). K"-60 ("Quincet") by Ntilmi, Nq;im al-Din Abil Mu~ammacf llyis lbn Yo.uf, of

Ganja (d 6o6/1209). 965 pages. 195 x 110 mm, text box 115 x 65 mm, 2 columns, 13 lines with 26 lines written diagonally on the /?iisbtya. Nasta ·riq. 11 miniatures. Copied ca. 1825 probably in Kashmir. There are four ' unvans (pp. 2, 88, 344, 504). The miniatures are small. The textual layout follows one first developed in Shiraz in the second half of the sixteenth century.

M""""1wea

KlnurrlN

WI

Sbilia

Page 124 (67 x 65 mm). Shirin sees a portrait ofKhusrau. Page 129 (67 x 65 mm). Shirin in conversation with Shipiir. PRge 139 (80 x 65 mm). Khusrau spies Shirin bathing in a stream. PJl8C 162 (65 x 65 mm). Bahram Chiibin marches against Khusrau . Page 172 (70 x 65 mm). Khusrau kills a lion [here, a tiger) in the Preset'\511~ifi§Mfmn

UNIVERSITY OF MICHIGAN

MUGHAL ANO PERSIAN PAINTINGS ANO !UUSTRATEO MANUSCRIPTS IN 1liE RAZA LIBRARY. RAMPUR

162

Page 189 (70 >< 65 mm). The war between Khusrau and Bahram Chubin. Page 272 (80 >< 65 mm). Khusrau at the door of Shirin's palace. Page 330 (70 >< 65 mm). Khusrau and Shinn asleep.

Kashmiri shawls. The miniarures are in ordinary Kashmiri style of this period. In addition to the miniatures illustrating Firdausi's text, three paintings from a Kashmiri copy of Ni~ami's Kbamsa have been inserted at the beginning of the manuscript (pp. 1, 3, 5).

Layla va Ma}rriilt

Mlldatures

Page 384 (60 >< 65 mm). Majnun visits Layla at her camp. Page 416 (80 >< 65 mm). Naufal fights as Majnun 's

Page 1 (194 >< 125 mm). Frontispiece: Majnun with Layla In a garden. Page 3 (194 >< 125 mm). Frontispiece: a royal couple

champion against Layla's tribe.

ls'llaiulamiima

836 (80

>< 65 mm). Iskandar disguised as his own messenger at the court of Queen Nushaba.

Page

• 111.64 P.1S40b (D.8.8014) Ladbdbal al...Wa ("The Pleasura of Women") by~ al-Din al-Nakhsbabi al-Badi'iioi (cl. ca. 7Sl/13SO-Sl). 151pages.147>< 125 mm). Frontispiece: Khusrau spies Shirin bathing in a stream. PaF 14 (185 >< 125 mm). Siyamak fights a dev and is killed. Page 32 (176 >< 125 mm). l)al:ll:lak orders the execution of Jamshid . Page 48 (158 >< 125 mm). Faridun's envoy Jandal before the king of Yemen, with Faridun's three sons and the king's three daughters present. Paqe S6 (176 >< 125 mm). Tur kills iraj in a tent. Page 73 (176 >< 125 mm; pl. 231). The simurgb rerums the white-haired child zal to his father Siim. PaF 104 (203 >< 125 mm). Ziil asks the aid of the simurgb in the Caesarean birth of Rustam; above them are the mother and child. Page 127 (185 >< 125 mm). Rustam lassos the horse Rakhsh. Page 132 (194 >< 125 mm). Rustam lifts Afr.isiyab from his saddle by his belt. Page 143 (158 >< 125 mm). Rustam sleeping while his horse Rakhsh kills a lion. Page 146 (158 >< 125 mm). Rustam aided by Rakhsh kills a dragon. Page 147 (131 >< 125 mm). Rustam kills a sorceress. Page 149 (176 >< 125 mm). Rustam captures Uliid, a

dev.

*

Page lSl (194 >< 125 mm). Rustam and Arzang Dev

IIT.65

fight.

Page 153 (158 >< 125 mm). Rustam kills the White

P.3916 (M.K.494). Sbabniima ("The Book of Kiop") by Firdausi, Abu al-Qisim, of Tis (cl. 411/ 1020). 1208 pages. 297 >< 190 mm, text box 230 >< 125 mm. 4 columns, 25 lines. Nasta ·riq. 72 miniarures. Copied 1246/ 22 June 1830-12 June 1831, probably in Kashmir by Al:lmad-Allah Dar.

Colophon: "Completed with the guidance of God whose help is sought, the celebrated book Sbabnama of Firdausi Tusi in the hand of the most insignificant of creatures Al:lmad-Allah Dar; in the Hijri year 1246 [in both words & figures] it was written•. There are four 'unvans (pp. 7, 340, 656, 962) decorated with large b1'41a design~s found on contemporary

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Dev.

Page 169 (158 >< 125 mm). Kay Kii '(is on his throne is carried to heaven by four birds. Page 201 (212 >< 125 mm). Rustam throws Suhriib to the ground and stabs him. Page 219 (176 >< 125 mm; fig. 234). Siyavush undergoes an ordeal by fire. Page 238 (140 >< 125 mm). Afrasiyab and Siyavush playing polo. Page 261 (194 >< 125 mm). Siyavush is executed. Page 27S (194 >< 125 mm). Rustam fights with Afrasiyab and Human hits Rustam with a mace. Page 292 (194 >< 125 mm). Afrasiyab watches as Giv, Kay Khusrau, and Farangis escape across the the river Jil:lun; above them is a ferry man and his boat. Page 299 (167 >< 125 mm). Kay Kii'iis and his son

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UNIVERSITY OF MICHIGAN

163

MANUSCJUP'TS 111.63, m.64, m.65, m.66

Kay Khusrau are reunited and sit together on the throne of Iran. Par 368 (194 x 125 mm). Rustam kills AshkabUs. Par 372 (194 x 125 mm). Rustam caprures KimUs with a lasso. Pllge 388 (158 x 125 mm). Rustam pulls the kbaqan of China from his mount. Pllge 403 (194 x 125 rrun). Rustam lifts Puladvand above his head and is about to dash him to the ground. Page 408 (194 x 125 mm). Akvan Dev throws Rustam into the sea, where the hero is attacked by water monsters. Pny 437 (158 x 125 mm). Rustam draws up Bizhan from a well where he was imprisoned. Pnge 454 (203 x 125 mm). Banu fights with TU5 a nd Fanburz. Page 468 (194 x 125 mm). Faramarz fights with Barzu and Barz\J falls from his horse and is killed. Paac 490 (158 x 125 mm). Rustam about to kill BarzU is sto pped by Barzu's mother who reveals her son's identity. Pny 500 (167 x 125 mm). Tus with S\Jsan, a singer. Paac 520 (185 x 125 mm). Rustam kills Pilsam after throwing him to the ground. Pnr 547 (194 x 125 mm). Bizhan kills Human. Pnr 565, top (81 x 125 mm). Faribun pulls down Kalbad from his horse. bottom (72 x 125 mm). After Karuy falls from his horse, Giv ties both his hands behind his back and leads him away. Pllge 566 (122 x 125 mm). Guraza kills Siyamak and hauls his body on a horse. Pay 567, top (81 x 125 mm). Furuhil and Zang\Jla fight. bottom (72 x 125 mm). Furuhil kills Zang\Jla. Pnic 568 (194 x 125 mm). Bizhan kills Ru'in with a mace. Pnge 569, top (72 x 125 mm). l:fajir kills Sipahram. bottom (72 x 125 mm). Zanga kills Ak hast (Akhvast) w ith a spear. Page 570 top (63 x 125 mm ). Gurgin kills Andariman. bottom (63 x 125 mm). Ba11a k.ills Kuh.ram. Pay 572 (149 x 125 mm). Gudan fights with Piran. Pllge 586 (203 x 125 mm). Kay Khusrau on h is elephant appoints Rustam to lead the right wing of the Iranian anny. Pnge 597 (194 x 125 mm). Kay Khusrau kills Shida. Page 611 (194 x 125 mm). Afrasiyab's and Kay Khusrau 's armies fight. Pnge 633 (194 x 125 mm). Kay Khusrau executes Afrasiyab. Pnge 652 (194 x 125 mm). Rustam with Zill and Gudan search for Kay Khusrau (who dies in a s nowstonn in the mountains with some of his retainers!. Page 698 (149 x 125 mm). Arjasp's horsemen kill Luhrasp.

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PnF 721 (158 x 125 mm). Isfandiyir disguised as a merchant is recognized by two sisters. Pnge 735 (194 x 125 mm). Rustam kicks aside a large boulder that Bah.man rolled towards him. Pay 757 (194 x 125 mm). Rustam shOiill ("Collecled ~ .....·) ol IJi"i, Shame al-Din Mnf:temmed, of Shim (d. 792/ 1389-90). 219 folios, 235 x 130 mm, text box 163 x 87 mm. 2 columns, 14 lines. Nasta'/iq. 14 miniatures.

Originar from

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAINTINGS AND IUUSTRATED MANUSCRIPTS IN TiiE RAZA LIBRARY. RAMPUR

164

Copied 19 Jumada I 1247/26 October 1831 "in Kashmir" for Aqa Mulµnunad Ismi 'il $aQib by MuUa N~.

Colopbme.· '1'inished the book with the help of the Munificent Lord on the 19th of the month of jumada I 1247 Hijri." "The book, the Divan-I lfiJ.f4 was transcribed on the date 19th of the month of jumada I, the year 1247 [Hijril in the city ( kht!{a) of Kashmir, at the desire of the one of pre-eminent starus, the source of generosity and bounty, the worthy master (lit., the threshold) of exalted titles, the cream of the family of truth and purity (i.e., sincerity), the mine of kindness and benevolence, the treasure of help and generosity, my lord and master (lit., one whose order I obey) janab [a term of respect like Mister, Lord, etc.) Aqa MuQammad Isma'il $aQib, may his exalted shadow last long, at the hand of [i.e., by) the Insignificant slave Mulla Niµm .• Thin polished paper. Each page has the writing reserved in cream on a golden background; gold flowers and birds are outlined in black at the end of each poem. There is a lacquer-painted cover with floral designs.

M""41ure• Fol Ila (130 x 87 mm). l;lifi; watches his beloved arrive on horseback at the tavern. Fol. 31• ( 130 x 87 mm; pl. 232). l;fafi~ in a mayltbana ("tavern"). Fol ( 130 x 87 mm). Kay Khusrau andJamshid enjoy wine together. Fol 59b (130 x 87 mm). Jamshid and his court listen to musicians. Fol 73a (130 x 87 mm). The vizier 'lmad al-Din Mal;unud and his coun. Fol 851> (163 x 87 mm). f:lafi~ tells the story of the love of Farh:ld for Shirin. Fol 98b ( 130 x 87 mm). Ya'qub receives his son Yusuf. Fol 104a (130 x 87 mm). Dara and lskandar meet. Fol 122a (120 x 87 mm). Shirin visits Farhad and sees him working on a canal to bring fresh milk through the mountains. Fol 1361> (130 x 87 mm). Ya'qub visits Ylisuf in Egypt. Fol 145b (130 x 87 mm). The prophet Sulayman with the budbud and the two devs who stole his ring. Fol 154b (130 x 87 mm). f:lafq: in the presence of charming ladies with cypress-like stature and Shirin-li.ke faces. Fol 169b ( 130 x 87 mm). f:{afi~ and his beloved who surpassed all others in beauty. Fol 186a ( 130 x 87 mm). The prophet Sulayman and the dev who stole his ring that was inscribed with the ism-I a';ram.

«a

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Erulorse•••llU: "The owner of this book is Nawwab ~

al-Daula Nqim al-Mulk Mulµmmad Tajarnmul l:fusayn Khan Bahadur l;faydar Jang.• Below this nore is a large square seal of the owner, not distinct.

• m.67 P.3918 (M.K.4751). Sbiilntii#ul ("The Book of Kinp•) by Fln'msJ. AbU al-Qisim. of TUa (d. 411/ 1020).

1451 pages .300 x 205 mm, text box 245 x 135 mm. 4 columns, 21 lines. Nas1a 'riq. 8 miniatures. Copied 1254/ 1838-39 by Sayyid Amir Shah Rampuri, miniarures probably painted in Kashmir, 186o-8o. The manuscript is unfinished and only the pages at the beginning of the text are ruled. There is no illumination and the paintings were pasted Into the text although text surrounding the paintings is continuous. For the calligrapher Sayyid Amir Shah Rampuri, see under a second of his works, Ms. 11.3. The paintings are in an appealing but very unusual style that combines Persian figural types and painting conventions with Indian icon ography. Th.ere are depictions of Persians, Europeans and Indians: a man wearing a black top hat and red military jacket talks to a king whose crown resembles the Afshar crown (p. 64, pl. 2.3 3); a woman wearing an Empire gown sits with a man in front of two unusual water-side houses (p. 85, pl. 234); and an Indian servant with a morcbalappears behind the hero Rustam (p . 119). It is probable that the miniatures were painted in Kashmir by an anist who received his training in Persia. M~s

Page 11 (245 x 135 mm). Mal).mud of Ghazna holding court. ~ 12 (125 x 140 mm). Firdausi meets the three poets of Mal).mud's court, 'Unsuri, 'Asjadi, and Fanukhi. Paae 28 (145 x 140 mm). jamshid holding coun. Page 64 ( 135 x 135 mm; pl. 233). Faridun listens to envoys from Salm and Tur. Page 85 (140 x 135 mm; pl. 234). l.31 with Rudaba. Page 111 (140x135 mm). Minuchlhr consults with the mobads. Paa< 175 mm, text box 220 >< 131 mm. 4 columns, 21 lines. Nasta 'riq. 22 miniatures. Copied 27 Jumada I 1259/ 25 June 1843 probably in Kashmir by Taj al-Din 'Abd al-Ghani. < 122 mm; pl. 235). Filqus (Faylaqus; i.e.,

Fol 182b ( 150 >< 120 mm). Bahram takes the Iranian crown from between two lions.

Philip of Macedonia) while on a hunting expedition is presented with the baby lsk.andar.

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Original from

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAINTINGS AND ILLUSTRATED MANUSCRIPTS IN 1llE RAZA LIBRARY, RAMPUR

166

Page 30 (215 >< 122 mm). Filqus (Faylaqus) in his

court, with philosophers and astronomers. Page 74 (180 >< 155 mm). A battle between lskandar's soldiers and the Rus ("Russian") army. Page 80 (215 >< 122 mm). Dara dying with his head resting in the lap of Iskandar. Page 111 (215 >< 122 mm). Iskandar, disguised as his own messenger, arrives at Queen Nush:iba's court where he is shown his own portrait. Page 165 (215 >< 122 mm). Iskandar offers presents at the court of the khaqan of China.

• ID.70 P.3915 (D.B.7341). Sbiilntiima ("The Book of Kings") by Firdausi, Abu al-Qisim, of TUs (d. 411/ 1020). 484 folios. 315 >< 190 mm, text box 255 >< 130 mm. 4 columns, 23 lines. Nasta 'Tiq. 32 miniatures. Copied ca. 1840-50, probably in Kashmir. There are four 'unvans in typical Kashmiri style (fols. lb, 144b, 259b, 41 lb). The miniatures are in mediocre Kashmiri style. Mnrlatures

Fol lOb (175 >< 130 mm). I;)af:tl.lak orders the execution of Jamshid. Fol 23a (178 >< 130 mm). Tur kills his brother iraj. Fol 33b (200 >< 130 mm). Minuchihr in conversation with Salm. Fol 39a (200 >< 130 mm). Using a rope, Rud:iba draws up Z:il to her chamber. Fol 47a (200 >< 130 mm). Below, Z:il asks for the aid of the simurgb as above, Rud:iba, who has given birth to Rustam by Caesarean section, lies with her child. Fol 6oa (200 >< 130 mm). Rustam lassos Rakhsh from among a herd of horses. In the background are shepherds and shepherdesses with their flock and dog. Fol 64a (178 >< 130 mm). Siy:ivush undergoes an ordeal by fire. Fol 75b (189 >< 130 mm). Siy:ivush plays polo with Afr:isiy:ib. Fol 90b (178 >< 130 mm). As Rustam is poised to kill Barzu, Barzu's mother reveals her son's identity. Fol 118a (211 >< 130 mm). Giv leads Kay Khusrau and Farangis across the ]il:iun River as a ferry man and his boat remain on the Turanian shore. Fol 123a (189 >< 130 mm). Kay Ka 'us receives his son Kay Khusrau in the presences of Rustam and Z:il. Fol 131a (189 >< 130 mm). Farud fights with Tus. Fol 159b (178 >< 130 mm). Rustam and Ashkabus fight .

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Fol 170b (200 >< 130 mm), Rustam lassos the khaqan of China and drags him from his elephant. Fol 191a (178 >< 130 mm). Bizhan kills wild boar [here, tigers). Fol 204a (178 >< 130 mm). Rustarn draws Bizhan up out of a pit where he has been imprisoned. Fol 218a (255 >< 130 mm). The army of Farimarz, a son of Rustam, fights with the army of Barzti, Rl•'ita.JJl's grandson. . Fol 230b (178 >< 130 mm). Kay Khusrau fights with Shiela, Afrasiy:ib' s son, and kills him. Fol 248a (189 >< 130 mm). Kay Khusrau executes Afrasiyab. Fol 300b (156 >< 130 mm). Isfandiy:ir kills lions. Fol 301b (178 >< 130 mm). Rustarn kills a dragon. Fol. 302b (178 >< 130 mm). Isfandiy:ir kills a sorceress. Fol 303b (178 x 130 mm). lsfandiy:ir kills the simurgb. Fol. 305a (178 x 130 mm). Isfandiy:ir and his companions take shelter from the snow. Fol 326b (167 >< 130 mm). RUStam shoots lsfandiy:ir in the eyes with a double pointed arrow and kills him. Fol 331b (178 >< 130 mm). Rustam, with his dying breath, kills his brother Shagh:id who has trapped him and his horse in a pit lined with spears. Fol 361b (178 >< 130 mm). Iskandar in conversation with lsr:ifil ("the angel of death") at the end of the world. Fol 366a (189 >< 130 mm). lskandar's coffin taken for burial. Fol 387a (189 >< 130 mm). Sh:ipiir disguised as a trader enters Rum and is discovered and imprisoned by Qay~r.

Fol 416a (178 x 130 mm). The game of sbatranj ("chess") is explained to Niishirv:in. Fol 457b (200 >< 130 mm). Khusrau rides a white elephant. Fol 467b (189 >< 130 mm). Kharr:id Barzin talking to kbatun ("the Queen") of China asking her to obtain the kbaqan 's mubr ("signet ring") so Quliin can leave China and go to kill Bahrim Chiibin who is in Merv.

* ID.71 P.2439 (M.K.4995). Sln4}ii'-I l;ltiy•ri •ho known as 'Ajii' #b al-BuldiM ("Wooden of the 'World") by M~amm!MI IJaydar (fl. 8nt half of the sc::teuteentb century?).

131 folios. 228 x143 mm, text box 178 >< 89 mm. 1 column, 14 lines. Cursive script. 11 miniatures. Copied ca. 1850 in Kashmir.

Original from

UNIVERSITY OF MICHIGAN

MANUSCRlPTS 111.69, 111.70. !U.71, 111.72

Mul)ammad l:laydar was a scholar living during the reigns of Jahangir and Shah Jahan. He was the tutor of Prince Shuja', Shah Jah:in's second son (b. 1025/ 1616), and to amuse his young charge Mul)ammad l:laydar collected information about wonders of the world, traveling through Kashmir, Iran, and Turkistan. He returned to Shahjahana-bad (founded in 1049/1639) and wrote this fanciful work (Hadi, Dictionary ofIndo-Perslan Llleralurn, p . 387). Rieu, on the other hand, believes that Sbuja'-i /faydari is a literary hoax (Rieu, Cata/Qgue ofthe Persian Manuscripts tn the British Museum 1, p. 427). All copies of 1his wo rk known 10 us date from the nine1eenth cenrury. The title Shujil'-i lfaydari cannot be satisfactorily ua nslated into English for it simply combines the names o f the author l:laydar and his patron Shuj:i '. The broadly executed 'unvan (fol. lb) is In Kllshmiri style, with gold flowers on a pale tan background and lapls replaced by medium blue. The miniatures are painted in a simple Kashmiri style that shows no British influence. MbrlatNns

Fol Sb (84 x 89 mm). A beautiful woman on horseback emerges from a well of mercury. Fol 16b (96 x 89 mm). Mystics, here portrayed as sanyaru, bathing in the Ganges. Fol 33a (96 x 89 mm). People in a boat watch a giant bird carrying a mountain in its claws. Fol 49a (96 x 89 mm). Two quadrupeds with human faces (sphinxes) who live in the ~af.i mountains. Fol 68a (96 x 89 mm). Two men each having two heads who live in the mountains in the West. Fol 74a (96 x 89 mm). Women with fish-bodies who come out in the moonlight to play. Fol &la eWc Entered the Raza Library on 1933.

Fol. 1 (78 x 95 mm). The battle between Krishna and Jarasandha 5. The round sweet faces of the figures, an unusual profile face, and horses with a white blaze on their foreheads and noses all have counte rparts in a copy of the Divan o f Amir Khusrau Dihlavi of 943/1536-37 in the 6sterreichischen Nat ionalbibliothek , Vienna (Mixt 356; Duda, D ie 11/umtnterten ·Handscbrlften der Osterretcbtscben Naltonal#Jtbltotbek, Islam tscbe Handscbrlfam, pp. 17879, figs. 153-60). Min iatu res in a related but more acco mplis hed "Tabriz style" are found in a Divan of Sul1an l:fusayn in the Russian Academy of Sciences, St. Petersburg (Petro5yan et al., Pages of Peifecttaac: 128 (80 x 85 mm). The king accompanied by members of his court visits 'Arif. Paae 145 (120 x 110 mm). 'Anrs grave surrounded by mourners including the king.

M-f'lq ol-Rllyiilft• Page 8 (130 x 85 mm; pl. 281). The poet reading his

verse to two youths. Paae 2.3 (100 x 82 mm). Personifications of two flowers who wear headdresses made of leaves conversing under trees. Paae 29 (95 x 85 mm). Kabg ("partridge or dove") who perch in a tree converse with nargis ("narcissus"). Page 51 (120 x 82 mm). Two kabgs converse with /ala ("tulips"). . . . 63 (120 x 82 mm). rurl("parrot") talk to 5Usan ("lilies"). Page 73 (95 x 82 mm). A durrilj ("a kind of partridge") talks with nasrin ("wild rose"). Paae 87 (1 13 x 84 mm). A tadbaro("pheasant") in conversation with a sumbul ("hyacinth"). PlllJIC 108 (127 x 78 mm). The nastaran ("dog rose"). Paae 120 (150 x 113 mm). A tibu ("quail") narrates a story about falling into the hands of a hunter. Erulors~-1111$:

On the first page of the Kbamsa, above the medallion (P .434, p.1), is an inscription, in Turkish:

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lJQsb daftardilrolan Ibrilbim Afandi ogbli lfusayn lfala 'i-

nindir ("It (presumably the book) belongs to l:fusayn J:lala 'i son of Ibrahim Efendi, who is the chief registerkeeper"). Blbllognlpby: Hafiz Nazir Ahmad, "Notes on Important Persian Mss" (1918), pp. ccciii-iv, no. 202; p. cccix, no. 211; and pp. cccx-xi, no. 215.

IV.12 P.4101 (D.B. 7004) K"-stl ("Quintet") by Amir Khusrau DihlPi, Yamin al-Din AbU al-f1asan Ibo Amir Sayf al-Din Uchin Turk (d. 725/1324). 262 folios. 255 x 142 mm, text box 132 x 102 mm. 4 columns, 17 lines. Nasta 'Tiq. 9 miniatures. Copied 6 Rajab 855/4 August 1451, probably in Shiraz. Colopbott: "This book was completed with the help of the Munificent Lord, lit isl entitled Hasbt Bibisbt - and God's salutations be upon the best of His creatio n Mul;iammad and his progeny, all of them. It was written on Wednesday, the 6th of the venerable month of Rajab, the year five and fifty and eight hundred of the Hijri. Oh God! pardon on its owner, its versifier, its scribe, and all the men and women of fum faith, and Muslim men and women through Your mercy, Oh most merciful of the Merciful. Amen."

This manuscript contains the five most popular matbnavis by Amir Khusrau Dihlavi. The illumination of this manuscript is in Shiraz style and includes an unusual sbamsa in the shape of an eight-pointed star within a square, with large gold plants outlined in black in the four comers (fol. la); a sarlauJ} with seven lines of poetry reserved in white against a beige hatched background surrounded by four panels with gold vines on black or blue backgrounds with red accents (fols. lb-2a); and 'unvans in gold and black with pale pink and blue (fols. 108b, 147b, 2llb). Headin~ are in gold or white nqa'i. Some of the illumination is damaged, with loss of the blue pigment. There are commentaries on the margins. All the miniatures except the one of the night ride of the Prophet Mulµmmad to heaven ( mi'raj, fol. Sa, pl. 282) have repairs, include new outlining and partially repainting of figures. Mllrlatutws

Mo'"'' ol-Alfviir Fol 5a (108 x 102 mm; pl. 282). The mi'rilj.

Kbusrou va Sbirift Fol 38b (132 x 127 mm). Khusrau spies Shirin bathing. Fol 56a (132 x 127 mm). Khusrau receives Shirin.

Original from

UNIVERSITY OF MICHIGAN

MUGHAL AND PERSIAN PAD'ffiNGS AND lllUSTRATEl> MANUSCRIPTS IN tlfE RAZA LIBRARY, RAMPUR

190

Fol 8'1» (132 x 127 mm). Shirin on her balcony converses with Khusrau who is on his horse before her palace.

Lllylll M Mll}rlii#c FoL 130b (132 x 127 mm). Majnun in the wilderness surrounded by wild animals.

...i'iu ~ SUwularl FoL 162a ( 132 x 127 mm). Iskandar's anny banles the anny of China. Fol 176b (157 x 127 mm). Iskandar disguised as his own messenger before Queen NiJshaba.

Habt-BlbUbt

FoL 223b (132 x 127 mm). Bahnim Gur in the Black Pavilion with the Indian Princess. FoL 2-i9b (132 x 127 mm). Bahram Gur in the Sandalwood Pavilion with the Chinese Princess.

BlbMoa•.Plty: Brend, Perspectives on Persian Patnttng:

mUS/ral1Qns to AmirKbusrau '.s Kbamsab, pp. 102-04, pis.

30-33.

• N.13 P.-i1"9-50 (M.IC. 268 and D.B. 8468). .KIHilWIWM 1£i11111 ("Tbc SCoi y of [the StnJRl)e lor) Kbivarin") by MuJ)ammad Ibo IJusim al-Din a1-QubJetini, known as Ibo-I fJusim (d. 87S/ 1-i70-71). 2 volumes. Vol. 1, 716 pages. 230 x 162 mm, text box 159 x 125 mm. 4 columns, 17 lines. Nasta •riq. 20 miniatures. Vol. 2, 163 folios (sic), 230 x 160 mm, text box 141 x 88 and 218 x 125 mm, 2 columns, 15 lines and 24 lines on the Qasbtya. Nasta 'riq. 5 miniatures. Copied 145(}.75, pos.5ibly in Shiraz, with miniatures in a provincial Turkman style and others added in Sultanate India in the second half of the fifteenth century. Ibn-i l;lusam was born into a peasant family in the mountainous area around Khusf in southern Khurasan. He was known for his piety and was considered one of the greatest theologians of the time. His best known w ork the matbnavi usually called Kbavaranni.lma but spelled by our scribe as Kbavarni.lma (p. 716), written in 830/ 1426, relates the heroic deeds of 'Ali and Sa'd ibn Waqq~ and their companions in their struggles against Qubad, the king of Khavarin, and others, most of whom later embrace Islam. He also wrote numerous qa#das in praise of 'Ali. The earliest of three publis hed illustrated Kbavamnni.lmas is in the Museum of Decorative Arts, Teheran, with some leaves in European and American collections. Although dated 854/ 1450, the miniatures

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were added later, some of them signed by the painter Farhad and dated 881/ 1476 (Zoka, • Kbavarannama: Naskha-yi khatti va m~vvar-i miiza-yi honarha-yi ta 'zini [ "Kbavarannama, the illustrated manuscript at the Museum of Decorative Arts"!, pp. 17-29; Grube, Musltm Mtntature Patnttngs, pis. 46-49; Robinson , Perstan Patnttngs, Victoria and Albert Museum, 1965, pl. 9). Indian copies of the Kbavarannama are in the British Museum, Oriental and India Office Collections, probably made in Multan in 1098/ 1686 (Add. 19766; Tilley, Perstan Miniature Painting, pl. 42) and in the National Library, Calcutta, probably made in North India, ca. 1725 (Bubar, no . 32; B.S. Kesavan , ed., Tbe Book in India: A Compilattcn, pl. 22). The ' unvan o f volume 1 is c rown-shaped with rinceaux of blue and red rosettes and green leaves interrupted by three unusual "crossed-lance" motifs on a dull gold ground; it was probably added to the manuscript in India (in the nineteenth century?). Volume 2 is defective at beginning and end; an 'unvan cut from another manuscript and surrounded by a gold panel has been pasted at the beginning of the text. Folios with miniatures have triangles on the l:Jasbiya between the writing decorated with flowers or cloud bands in silver or in colors, yellow or dark red, with blue leaves. Th is is a provincial version of Shiraz illumination of the ftrst half of the fifteenth century. Miniatures a re painted in three styles. The first miniature in volume 1 shows 'Ali reading the marriage sermon for Sa'd ibn Waqqa~ and his bride (P. 4149, p. 59, pl. 287). The three large figures include two youths with baby faces whose small turba.n s are high up o n their heads, as was the Turkman fashion in the years 1450-70. The colorful but confused interior has a dado of hexagons with three windo ws above it. The center window shows a vista of trees inte rrupted by a mysterious striped canopy(?); on the left side are clouds on a gold background and on the right, a black grid on gold. This miniature we believe was executed in a Turkman center in Persia, probably in Shiraz, in the third quaner of the fifteenth century. Most of the miniatures are painted in a second style and we believe they were probably added in India later in the second half of the fifteenth century. The large stocky figures have broad white faces with small features and rouged cheeks; some of the men have red hair; and others have dark complexions ((P. 4150, fol. 16b, pl. 288). Men wear gold helmets with old-fashioned lappets over the ears ornamented by punching, chain mail covering the shoulders, and greaves. The turl>ans and faces are similar to those in the Museum of Decorative Arts Kbavarannama of 1476. Soldie.rs are crowded alo ng the hill contours in informal rows. Hills are o utl ined by a narrow band of rocks or simply by a blue stroke of the brush. Us ually there are one or two large plants with flowers or large plants with three to ftve large leaves. The rendering of rocks is loose and unconvincing. Indian features include an unusual o verhanging domed roof

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UNIVERSITY OF MICHIGAN

191

MANUSCRIPTS IV.12, IV. 13. IV.14

and shadowed bricks (p . 341, pl. 285). Low purple hills in the foreground are strangely represented as ripples, and an unusually bright yellow color (Indian yellow?) appears in some miniatures (P. 4150, fol. 16b). The square format of the miniatures and their style have alflllities with Robin.son's fll'St Indian style, as described in his recent monograph on Timurid art (FijteenJb-Century Persian Painti11B: Problems and Issues, p. 64). The third style, as found in the miniature showing Zaman ibn Rukham being killed outside Sa' d ibn Waqq~'s tent (p. 513, pl. 287), derives from Persian art of the later fifteenth century; men wear turbans and sbalvilrs of black and white striped material, with the turbans wound around a thick red Turkman ku/ab. Horsemen ride well forward on their steeds. The forked trunk of the tree and the type of tent with overhanging dome and small red curtain over the door suggest an Indian provenance. · MilflalJlns

KbiWariUMiiMa, vol. l

Prac639 (135 x 140 mm). 'Ali with his sword attacks $al~l.

Page 6S8 ( 130 x 140 mm). 'Umar-i Umayya (represented as a black man in a tall hat] blinds $a~. Page 704 (135 x 140 mm). Tahmasp is killed by Malik on the order of amir al-mumtnin ("commander of the faithful", a title referring to •Ali). K~vol.2

Fol 4a (121 x 121 mm). Tahm:isp learns of a planned night attack by the king's enemy, and engages them in battle. . FoL 16b (121 x 121 mm; pl. 288). A battle scene, showing Tahm:isp seated on an ass. FoL SSa (121 x 121 mm). l:laydar ('Ali) killing ~gons with Dhu al-faqar. FoL9Sa(121x121 mm). 'AliasksSal~ltoabandon the Zoroastrian faith and embrace Islam. FoL 107a (121 x 121 mm). The banle between I;laydar ('Ali] and $al~l.

Pase S9 (100 x 120 mm; pl. 283). 'All reading the khu!ba-i nikii>, ("marriage ceremony") for Sa' d ibn Waqqa~ and

his bride Dilafruz. Page lo6 (107 x 120 mm; pl. 284). •Ali kills a dragon with many heads while detJs flee. Pi-ae 130 (117 x 120 mm). 'Ali battles with monsterlike beings who have large ears like an elephant (pi/ gUsban). Page 146 ( 107 x 120 mm). Amir (i.e ., 'Ali) killing Naushad. Page lSl (1 10 x 120 mm). 'Ali kills Ardashir with his double-poin.t ed sword Ohu al-faq:ir. Page 195 (117 x 120 mm; pl. 285). 'Ali armed with a mace attacks a foe. Page 200 (105 x 120 mm). A black man (Zangi) kills Shadd:id. Page222 (115x120 mm). AbU Mihjan killsShahry:ir. Page 26o ( 115 x 120 mm). Two ugly-faced persons [here shown as deus'! brought before the king. Page 268 (115 x 115 mm). l:faydar ('Ali) killing a dragon. Page 320 (130 x 115 mm). ' Ali performs the ntkii>, of Dilar:im with Sharnshad. Page 341(107x115 mm; pl. 286). 'Ali and an angel at a spring. Page 387 (115 x 115 mm). Abu Mihjan kills an enemy, cutting him in twain. Page 493 (130 x 115 mm). 'Ali kills a dragon with his sword Dhu al-faqar. Page S13 (1 17 x 140 mm; pl. 287). Zaman ibn Rukh:im is killed outside the tent of Sa'd ibn Waqqa~. Page SS9 (115 x 140 mm). A lion bows his head before "the lion of the brave" ['Ali]. Page 583 ( 130 x1 20 mm; pl. 289). $als:il challenges •Ali to contest wi.th him in the game of wrestling the ring from each other's hands. The picture shows the two pulling the ring.

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• IV.14 P.3997 (M.K.2 7f). Siad (•Sextet") by ·~, Farid al-Din Abii l;lamld Mu'1•mmad Ibo Ibribim N"ISbipUri (d. probably 618/1221).

...

717 pages. 4 columns, 27 lines. Nasta 'riq. 31 miniatures . Copied 1485-1500, probably in Shiraz, in Commercial Turkman style. ' Attar was born in Nishapur, ca. 537/1142-43, and after extensive travels to Egypt, Syria, Mecca, India and Turkistan he returned to Nishapur where he worked as a druggist, as his name · a{(Qr ("dealer in ' i/1") indicates. We are told in two of his poems, Mufibatnama ("Book of Afflictions") and J/abinama ("The Book of God") that they were written in his dar'Ukbana ("drug.store"). He is best remembered today for his Man{iq al-{ayr ("The Speech of the Birds") composed in 584/1188; this mystical allegory in verse concerns the search by thirty birds (si murgb) for the mythical simurgb ("truth personified"). The Raza Library manuscript includes six matbnavis. Man(iq al-Fayr(pp. 1-91); Mufibatnama(pp. 94-235), I/abinama (pp. 2.38-365), Asnirnama ("The Story of Secrets"; pp. 370438); Kbusrau va Gui ("Khusrau and Gui") or Kbusraunama("TheStory ofKhusrau"; pp. 440-593); and short selections from another matbnavi titled Mukbtarnama(pp. 596-717). 'Attar probably died in 618/ 1221 when the city of Nishapur was destroyed by the Mongols. Dampness has removed the blue from the sarlau}?s which introduce the six parts or the text and damaged some of the miniatures. The faces of a few figures have been repainted, probably in India. The manuscript was Orig r a fro111

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rebound in brown leather with gold rulings and gold stamping in nonhem India in the nineteenth century.

"'"'"""'• ll•IU/ 111-ft'Yr ,..: 9 (100 x 110 mm). A man observes a woman aying in alarm because her child has fallen into a river. PIF 22 (100 x 110 mm). The angelJibra'il consoles Ya'qub after the disappearance of his son Yiisuf. Paae 2' (75 x 110 mm). Shaykh $an'an sees the Christian maiden and the course of his life is changed. Page 36 (95 x 105 mm). Shaykh Kharaqani of Nishapur in a deserted place observed by two puzzled men. Pate < 125 mm). An old woman petitions Sul!an Sanjar. Page

S8 ( 170 x 130 mm). Bathhouse scene.

K"'"""4 11" Sbir'UI Page 81 (190 x 130 mm). Shirin sees the ponrait of Khusrau hanging in her garden. Page 1o6 (180 x 130 mm). Khusrau kills a lion outside Shirin 's tent. Ptse 143 (210 x 130 mm). Shirin visits Pathad at Mount Bisurun. Illus., Suleimanova, Mtnialures-mumtnattons ofNizami's "Hamsah ", fig. 108. rase 178 (210 x 125 mm). Shirin arrives atKhusrau 's camp at night. Illus.. Suleimanova, fig. 109.

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Page 193 (210 x 130 mm). Khusrau and Shirin on !heir wedding night.

IAylii vo M11ftdi# Psi!PC 237 (185 x 125 mm). Layla and Qays [later called Majnunl at school. %ge 256 ( 185 x 130 mm). Naufal talks with Majniin in lhe wilderness. lllus., Suleimanova, fig. 110. ~ 299 (210 x 125 mm). Majnun visits Layla's camp. Page 315 (195 x 125 mm). Layla and Majniin faint upon meeting. Illus., Suleimanova, fig. 111. H~pay""r

Page 355 (185 x 125 mm). Bahram Giir kills a dragon. Illus., Suleimanova, fig. 112. Page 372 (210 x 125 mm). Fitna carries an ox up a flight of stairs. Page 415 (185 x 125 mm). Bahram Gur feasting wilh friends.

Jslul"""nUIM" (S~) Page 493 (210 x 142 mm). lskandar's soldiers battle lhe Zangis. Page 520 ( 190 x 125 mm). King Dara dies in Iskandar's arms. Page 546 (215 x 130 mm; pl. 291). Iskandar disguised as his o wn messenger is shown his portrait by Queen Nilshaba. Psge 581 (210 x 125 mm; pl. 292). Is kandar feasting wilh the Jtbaqan of China. Page 6o7 (215 x 130 mm). Is kandar battles the Russian champion, who is pictured as a dev. Illus., Suleimanova, fig. 113.

Js"""""rrliinul (Jqbiibta""') Page 654 (215 x 130 mm). Is kandar sees the seven doctors o f philosophy, Arastu, Babinas, Suqrat; Aflatiin, Walis, FarfUriyus, and Harmes. Page 687 (190 x 130 mm; pl. 293). Iskandar visits lhe Ka'ba, unusually re presented as an hexagonal-shaped tomb built wilh alternating go ld and s ilve r bricks. %&,e 703 ( 180 x 130 mm). lskandar reaches a land o f IIUthful people who worship God and is welcomed wilh o pen arms. E~

Fly page at the beginning. There are two endorsemen ts ind icating the ca tegory or c lass of the manuscript: top-most, sivum ("lhird class") and below it, dar duvum, duvum ("second in lhe second class"). It has about twelve seals and nine endorse.m ents. Of the latter, four inspection notes ( 'arr;kridas) are dated, ( 1) 1st Rabi' 11, year 20 (probably of Shah Jahan, H. 1057, D1git1zed

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beginning 6 April 1647). Value, twenty(?) muhrs. (2) 30 Murdad, l.lahi year 46 (of Akbar, H . 1010, beginning 11 August 1€i01); (3) 17 IsfandannuzofUWUlyear9[of Akbar, H. 971, beginning 26 January 15641; and (4) 20 Rajah 1~ (7 September 1678, during Aurangz.eb's time), with an illegible small o val seal. Two more inspection notes are illegible. Another note, dated 7 Isfandannuz of l.lahi year 40 (H . 1004, beginning 17 February 1596) speaks of the work having passed under the august gaze (of Akbari in the dar aJ-JtbUllfaJ ( iabode of the caliphate", that is, Agra). Of about twelve seals on lhis fly page, the oldest perhaps is that ofKhwaja N~m al-Din AJ:imad [lhe author of lhe Tabaqiu-t .Akbari and ballbsbi of Gujarat] that is affixed to his note, "This excellent book was purchased in the dar al-sal/anat ("abode o f sovereignty") Ahmedabad from Shaykh Panja Multani on 11 of the month of Rabi' 11992 (22 April 1584). [Signed) lhe creature Niµm al-Din AJ:imad". His seal reads, "The creature Ni?.am al-Din Al)mad, the son of Mulµmmad Muqim". The other legible seal reads "Mu~lbb 'Ali, servant of Akbar Shih" and Is appended to his note [he is evidently a library official], "God is great! [This book) from the estate of Khwaja Ni?m al-Din Al)mad was entered into the [emperor's) personal library ( Jdlabltbtlna-t ~ used co differentiace it from the Impcri21 Library) on the date 8th Isfandannuz of ll:ihi year 39 (23 February 1595)". Of the rest of lhe seals, three are almost uninked; perhaps one of them is of 'Inayat Khan Shah Jahini, and another, also probably of the same emperor's official. The largest seal o n lhis paper is ornate and has a metrical legend. It purports to be that of some library; it is comparatively late. The end flyleaf. There is o ne most conspicuous long note, abouc a dozen inspection notes and other notes with regnal year dates (of Akbar, Jahangir, Shah Jahan, and Aurangzeb, as fa r as it has been able to ascertain) and five seals of which three are more or less effaced; two did not properly come out, but o ne of these is of a library official o f ·Alamgir Padsh2h, wilh the man 's name starting or ending wilh ·Ali. The long note is important and must have been made when lhe book first entered the Mughal Imperial Library. It gives a detailed description of lhe manuscrlptits size, paper, script, binding, comers, folios, number of paintings, etc. Although quite c lear, it cannot be completely read as it is written In cursive script and is full of terminological jargon. It says, • Kbamsa of Shaykh Ni~ami; size, vaztrl ltalan ("large"); paper, white, ... script, nasleb-ta'Tsq, four hcmistichs a line, ... twentytwo paintings [lhis Is quite c lear), ... late Ni?m al-Din Al)mad, on the date 1 Adhar llahi year 40 (H . 1004, beginning 11 November 1595) was given in charge of Luqman, ... folios, 36 t ; lines [per page) 21 ; under orders.. .". The nearby seal of ' Alamgir's time docs not pertain to lhis note which is by a library official working for Akbar; it is verycJ?fcY~~~ Yo he same person who

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entered a similar note on another copy of the Kbam.sa of N~. in the British Library, Or. 6810, fol. 303b (Seyller, "The Inspection and Valuation of Manuscripts in the Imperial Mughal Library", fig. 10, English translation p . 292, where the major error is "done under the supervision of" instead of "executed by" (ba- 'amal-{) Mirak and 'Abd al-Razzaq). The inspection notes, etc., starting from the top downwards are: (1) "On 23 Mul;larram (regnall year 24 [of Aurangzeb, H. 1092, beginning 12 February 1681), it was given to the charge of Khwaja ' Umar from the charge of Khwaja 'Ambar. Value 15 muhrs". Below this note is the seal of Aurangzeb's official referred to above; (2) "On 5 Mul;larram [regnal] year 30 [of Aurangzeb, H. 1098, beginning 1 December 1686), this was given to the charge of Mun' im Beg. Value 15 muhrs"; (3) "inspected on 27 Rabi' 11 of [regnall year 23 of Aurangzeb, H. 1091, beginning 27 April 1680)"; (4) "on 2(?) Rabi' II of year .... from the charge of Mun'im Beg, given to the charge of Murad Beg. Value 15 muhrs [Aurangzeb's time)"; (5) undated inspection note; (6) "inspected on 16.. . regnal year one [very probably of Shah Jahan]". The seal below it is not legible; (7) "on 26 Aban [regnall year 7 [very probably of j ahangir, H. 1021, beginning 17 November 1612), charge given to Iµbil>-Allih"; (8) "inspected on 13 Isfandannuz, [llahil year 49 (2 March 16o5), through Mul;lamrnad ' Ali [Akbar's time)"; (9) "On 18 Adhar . . .. transferred from Mul;lammad 'Ali to Mulla Luqman's charge (Akbar's time)"; (10) "inspected on 23 Dhi Qa'da, year 29 [probably Shah jahan's time, H . 1065, beginning 24 September 1655)"; ( 11) "on 23 Bahman llahi year 6 [of Akbar's time probably, beginning 2 February 15621"; (12) "inspected on 23 Sha'ban [regnall year 14 [probably of Shahjahan, 1051, beginning 27 November 1641]"; and (13) "inspected on 23 ~afar lregnal] year 7 [probably of Shah jahan's time, H. 1045, beginning 8 August 16351.

Publlc#tloll: Suleimanova, Minialures-Rlumlnations of Nf¥lmi "Khamsah" 11985), Ms. no. 12, figs. 108-13.

The cosrumes of the men include large tutbans with fat batons or high rounded hats with rolled brims, bodt headgear commonly found in Persia in miniatu.res of the 1540s. The beards of the men are rendered as vertical parallel lines and appear thin. Women wear white head scarves that fall to the shoulders and under the chin; they are held in place by a fillet with an upright three-pronged decoration. M,..,,,,._s P.t,.e 35 (65 x 45 mm). Mahisti plays the harp (cbang) for Amir Al)mad. P.,e 67 (57 x 45 mm; pl. 294). Mahisti plays the harp for the king of Ganja.

Paee 74 (55 x 45 mm; pl. 295). The king hunting. Page 88 (65 x 50 mm). Amir Al;lmad visits Pir •Uthmin who sits holding a cup of wine in one hand and

a book in the other. Paae 106 (65 x 50 mm) Ustad l:faddad ties Amir Al)mad's hands a.n d feet. P.,e 160 (60 x 50 mm) Amir Al)mad offers a cup of wine to Mahisti. P.,e 176 (60 x 50 mm). Mahisti plays the harp for the king, P.,e 211 (65 x 50 mm). The king of Ganja slitting from ear to ear the head of the cuJrbearer Qaranja whom he found embracing Mahisti in the garden.

N.19 P.4128 (M..K.674). Mlbr 'ft MNSbllui (•Mfbr (the Sun] aod Musbbui [Jupiterf") by 'A.ffir, Sb•me aJ. Din Mg\l•mmed Tabrizi (cl. 784/1382 OI' 792/ 1390). 369 pages. 190 x 110 mm, text box 132 x 70 mm. 2 columns, 14 lines. Nasta 'Tiq. 6 miniatures. Copied ca. 1540-60, probably in Shiraz.

• N.18 P.3045 (M.K.669) fl'ff"-4 Amir A (1""'4 va Mablsti ("The Romance of Amir At,mad and Mahistl'"").

227 pages. 134 x 90 mm, text box 98 x 55 mm. 1 column, 10 lines. Nasta 'Tiq. 8 miniatures. Copied ca. 1540-50 probably in Shiraz. The author of the romance of Amir Al)mad and Mahisti is unknown. Pages 127-30 and 228-30 are blank. There is one good ' unvan in Shirazi style: the script on this opening is reserved in cream on a gold background panemed with small colored flowers characteristic of Shiraz illumination, mid-sixteenth century to mid-seventeenth century.

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Pages 19-22 are replacements. The 'unvilns on pages 2 and 20, and the miniature on page 22, were executed in Kashmir, in the late eighteenth/nineteenth century. The other five miniatures are in Shiraz! style and are contemporary with the copying of the manuscript. There are two other illustrated copies of this work in the Raza Library, Cat. nos. IV.8 and IV.20. M""""'6res

Paec 22 ( 132 x 105

mm). ·~r narrating the sto ry of

Mihr and Mushtari. Page 39 ( 132 x 105 mm). Mihr and Mushtari as children in school. Page 110 (132 x 105 mm). Mushtari fights with robbers.

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MANUSCRIPTS IV.17, IV.18. IV.19. IV.20, IV.21

P.JC 132 (132 x 105 mm; pl. 296). Mi.hr gazing at a portrait of Mushtari. P.ge 284 (132 x 105 mm). Asad and Pars facing each other ready to fight Page 320 (132 x 105 mm). Mihr and Mushtari feasting.

IV.20 P.4127 (M.K.890). Mlbr va MMlbt#ri by '~ir, Shams al-Din Mul)i•mmacl Tabtizi (cl. 784/1382 or 792/1390). 433 pages. 244 x 150 mm, text box 170 x 80 mm. 2 columns, 12 lines. Nasta 'Tiq. 8 miniatures. Copied ca. 1560, probably in Shiraz by Mul:iammad al-Qivam al-Shirazi.

Colopboll: "Finished the book [with the help of God) and His excellent guidance. This was written by the creature Mul:iammad al-Qivam al-Shirizi." The ailligrapher Mut:iammad al-Qivam w as o ne of the p~minent sixteenth century calligraphers of Shiraz. His w o rking career extended over sixty-six years (Guest, Shiraz Paintfng in tbe Stxteentb Century, p. 64, n. 2; Robinson, A Descriptive Catalogue of tbe Persian Paintings in the Bod/eian Library, pp. 119-25). In the colophon of a Kbamsa by Ni~ami of 950/ 1543 in the Russian Academy of Sciences, St. Petersburg, he signs himself Mut:iammad ibn Qivam al-Katib al-Shirazi, with the nickname l:fammami (D-212; Y.A. Petros yan et al., Pages of PeefecHon: Islamic Paintings and Calligraphy from tbe Russian .Academy of Sciences, St. Petersburg, pp. 240-45, no. 44). His last kno wn wo rk is a copy of Sana 'i's J:laaiqat al-IJaqiqa of 1016/1607 in the John Rylands Library (Ryl. Pers. 12; Robinson, Persian Painting in tbe john Rylands Library, pp. 226-27), in which he signs as Mul:iammad al-Qivami. For o ther manuscripts penned by him, see Bayani (KbusbnavisiJn, pp. 814-16). The paintings in this Raza Library Mtbr va Musbtari are very similar in style to ones in a Kbamsa of 1560 in The New York Public Library (Spencer, Pers. Ms. 51; Schmitz, Islamic Manuscripts in 1be New York Public Library, pp. 94-96) and ones in a second Kbamsa dated between 974/1566 and 976/ 1568 in the Staatsbibliothek Stiftung Preussischer Kulturbesitz, Berlin (Ms. or quart 1940; Stchoukine et al. , 11/umtnterte tslamtscbe Handscbrlften, pp. 61-63, no. 20, pl. 22, figs. 332-33). The scenes are lively; especially amusing is the depiction of Nahid lying on a bed with eleven mattresses while Mi.hr watching dancing girls in an adjoining room (p. 379, pl. 298). The paintings are in good condition. There are two other illustrated copies of this text in the Raza Library (supra, Cat. nos. IV.8 and IV. 19).

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M"*"-'Page 29 (167 x 113 mm). Two men, one of them a king, pay homage to an 'arlf{"gnostic") who lives in a cave. Page 48 (167 x 113 mm; pl. 297). Mihr and Mushtari in school. PaJC 110 (167 x 113 mm). Bihzad offers his respectS to King Khusrau. Pagc 185 (167 x 120 mm). Mihr fights with maneating demons. Pagc 233 ( 167 x 120 mm). A IJammam ("bath") scene. Paac 273 (167 x 120 mm). Mi.hr kisses the feet of the king. %ge 298 (167 x 115 mm). A hunting scene. PaJC 379 ( 175 x 137 mm; pl. 298). Mihr and Na hid celebrate their marriage. E~

Front flyleaf, in a very bold hand, "Book, Mtbr va Musbtari. Value, 400(?)". Below it is the seal of Shakir Khan Muhammad Shahi [that is, a retaine r or the Mughal emperor Mul:iammad Shah, r. 1719-48). Inspection note of 9 Rama4an, regnal year 3 of the Mughal emperor AJ.tmad Shah (H. 1163, beginning 12 August 1750). The seal below it is illegible. Three more seals below this note and seal have been effaced. To the right of these seals is an inspectio n note o r 4 Sha 'ban of [regnall year 4 [of At:imad Shah? H. 1164, beginning 28 July 1751). At the bottom of the flyleaf is a long note, "On 24 or the month or the venerable Shawwal 1239 Hijri corresponding to 23 of the month of June 1824 •isavi , (A.O.), [this book) was purchased in the Port or Calcutta from my maste r (makbdum~ liL, one who is served) M'ir Mahdi $a}.tib al-Musavi and it entered [my library). [Signed) 'Ali A' µm $iddiqi, the son of Mut:iammad Ka~im $iddiqi". A small square seal reads, "'Ali A' µm"; the year is not clear.

• IV.21 P.2295 (M.K.792). Majiills al-'u!lbsbdq ("A.lsemblies of the Loven") by Sul.fin J:lusayn, K•mil al-Din Ibo Sultln Manfiir Ibo Mirzi Biyqari Ibo Mini 'Umar Sbaykh Ibo Amir lmitir Gurpni (cl. 911/ 1506). 473 pages. 301 x 185 mm, text box 190 x 105 mm. 1 and 2 columns, 14 lines. Nasta 'liq. 51 miniatures. Copied ca. 1580, probably in Shiraz. Pl"Off#llrtee.• Purchased in Bakkar (in Sind) in 999/ 1591

by 'Abd al-Ral:iim Khan, Khan Khanan, the son of the late nawwab Mirza Mut:iammad Bayram Khan Khiinan. Later in the library of Shah Jahan. The manuscript

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remained in the Mughal Library until it entered the collection of Badr al-Daula Shuja' al-Mulk Mul)ammad Sa'adatmand Khan Bahadur Asad Jang, the ruler of Farrukhabad, his seal dated 1238/1822-23. It entered the Raza Library, 18 November 1903. The work consists of seventy-six or more majiilis ("assemblies") each giving a short account ofsome saintly or royal person. Traditionally the text is said to have been composed by Sul{an l;fusayn of Herat (as is written in the Raza Libra.ry copy), in 908-09/1502-04. Scholars do not consider it to be a serious biography, and some have doubted its royal authorship. Babur, for example, attributed it instead to a certain Kamal al-Din l;fusayn Gazargahl, whom Browne describes as a pseudo-Sufi who enjoyed the patronage of Mir 'Ali Shir Nava'i, Sul\:in l;fusayn's famous vizier (Browne, History of Persian Literalure 3. p. 440). The manuscript begins with a fine double page sarlaull in Shiraz style, with long blue and purple cloud bands (pp. 4-5). The gold sprinkled paper is divided into columns by vertical orange rulings. Triangular spaces in the areas of slanted text are filled with large golden plants with red accents on cream background covered with blue three-dot motifs. The style of painting is typical of Shiraz during a period in which influence from the capital at Qazwin is noticeable: men have scrawny necks, short bodies, and wear close fining white turbans. Hills are covered with large white rocks completely surrounded by green leaves, a convention often found in Shiraz painting of the period. Very similar figures and landscapes are found in a copy of Majiilis al- 'ushshiiq dated 988/1580 in the Bibliotheque Nationale, Paris (Supple. persan. 1150; Stchoukine, Les peintures des manuscrits safavis, p. 118, Ms. no. 146, pl. 81; Blochet, Les Enlumineures des manuscrits orlentau.x, p. 127, pis. 78b, and 79a-b), as comparison of similar versions of Shaykh ~an'an tending pigs in the two manuscripts shows (Stchoukine, pl. 81 top and IV. 21, p. 171). Although Majiilis al-'ushshiiq was written in the early sixteenth century, illustrated copies of it date only from the second half of that century, and were made in Shiraz. Among these, the earliest copy, dated 959/1552, is in the Bodleian Library (Ouseley Add. 24; Robinson, A Descriptive Catalogue of the Perstan Paintings in the Bodleian library, pp. 97-102, pl. 14). A copy of984/15n with seventy-five miniatures was sold at auction in 2003 (Sotheby's, London, Sales Catalogue, 15 October 2003, lot 22). There is an illustrated copy in the Bibliotheque Nationale with eighty-one miniatures dated 988/1 580, as mentioned above, and an undated copy in the same institution with eighty-four miniatures of about the same date (Supple. persan n5; Stchoukine, Les peintures des manuscrlts safavis, Ms. no. 122). Another fine copy, of ca. 1580, again with eighty-four miniatures, is in the Topkapi Palace Museum Library (Hazine 829; Karatay,

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Topkapi Samyi Murest KutUpbanesi FarsfO Yazmalar

Katalogu, no. 69). There is also a copy in the Khuda Bakhsh Oriental Public Library, of ca. 1580, with thirtytwo miniatures (Muqtadir, Calalogue of the Arabic and Persian Manuscripts in the Oriental Publtc Library at Banktpore 8, Cat. no. 663). The latest known copy, in the British Library, Oriental and India Office Collections, dates ca. 1590-1600 and has forty-nine miniatures (Ethe 1871; Robinson, Persian Painting in tbe lndta Offtce library, pp. 138-44, nos. 464-513). The episodes chosen for illustration vary considerably from manuscript to manuscript. M""""'1Ys

Page 21 (155 x 170 mm). lfuzn ("grief") sining by the side ofYa'qub ibn Kan'an as they pray in a mosque. Page 38 (155 x 170 mm). Zulaykha holds the skirt of her slave Yusuf who tries to flee. Page S6 (162 x 170 mm). ImamJa'far ~diq. veiled and with his head surrounded by a flame halo, talks with the young l;fasan-i Jabir who kneels before him. Page S8 (148 x 170 mm). Shaykh Dhu al-Nun~ sees a sleeping intoxicated young man lying on the ground next to a dead snake that had wanted to hann him. The snake had been killed by scorpion, which walks away. Page 66 (200 x 170 mm). A gnostic ( 'iirlj) in conversation with King Ibrahim Adham of Balkh, who later gives up the kingship and becomes a mystic as well. Page 93 (162 x 170 mm). The mystic Abu al-l;fasan Khurasani [or Kharaqaru?J sees the beautiful son of the caliph sining on a balcony and falls in love with him. Page 100 (162 x 170 mm). Shaykh Abii Sa'id ibn Abu al-Khayr and his followers enjoy religious dancing (samii,. Page 107 (176 x 170 mm). A young friend of 'AbdAlliih An$3ri serves food to pious men who are meditating in a cave on Mount Tasht va Aftaba ("Mount Basin and Ewer"). Page 118 (162 x 170 mm). Imam AIJ.mad Ghazali riding a mule on his way to the bath sees a beautiful youth coming out of the bathhouse. Page 130 (169 x 170 mm; pl. 299). In a cavern, a youth offers a cup of wine to Shaykh Zhandapil Al)mad-i

a

Jam. Page 136 (176 x 170 mm). A prince invites ' Irnad

al-Din Kirmani to take part in a samii'. The scene shows men dancing. Page 152 (169 x 170 mm). Najm al-Din Kubra and Majd al-Din Baghdadi playing chess. Page 162 (176 x 170 mm). Shaykh San'an sees the Christian maiden on a balcony and falls in love with her. Page 171 (162 x 170 mm). Shaykh ~an'an tending pigs. Page 179 (148 x 170 mm). A dervish visits the pharmacy shop of Farid al-Din 'Anar and wills himself

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to die. The event so influenced 'Anar that he becomes a true Sufi. Psge 182 (148 x 170 mm). Shaykh Ibn al-Faras in a garden with his followers. rage 193 (162 x 170 mm). Sultan Valad, the son of Maularui Ru mi, and other followers of the Maularui meet Shams-i Tabrizi at f:lalab (Aleppo) and convey Maularui 's message to him. Page 198(169x170mm). Theanny ofChingiz Khan attacks the fort at Hamadan, an event in the story of Najm al-Din Razi. rage 202 (162 x 170 mm). The ruler of Bukhara presents a horse to Shaykh Sayf al-Din Bakharzi. The Shaykh sits on his horse holding a green robe; the prince, on foot, holds the reins. Psge 209(148x 170mm). MaularuiJalal al-Din Rumi leading the prayer with Shaykh Sa'd al-Din f:lamavi and Shaykh ~adr al-Din Qunavi in attendance. rage 212 (162 x 170 mm; pl. 300). Shaykh Fakhr alDin 'Iraqi with some qalandardervishes on their way to Multan. Page 222 (162 x 170 mm). Sa'di meeL~ Khwaja Hurnam al-Din Tabrizi and his sons at a public bath. rage 227 (176 x 170 mm). Associates of Shaykh Mal;uniid Shabistari ask him to give up his relationship with a charming boy, Shaykh Ibrahim; the meeting is in a garden. Page 235 (148 x 170 mm). Sultan f:lusayn Akhlati receives gifts brought to him by one of the servants of Sultan Barqiiq, the Mamliik ruler of Egypt, who was very beautiful and the object of Sultan f:lusayn 's ardor. rage 244 (148 x 170 mm). Pahlavan Mu):iammad Puryar exhibits his wrestling abilities before the king. rage 251 (148x 170 mm). Hailstones break a bottle of wine held up by Maulana Lutf-Allah N"ishapiiri. rage 257 (148 x 170 mm). Maulana Sa'd al-Din Taftazani gives lessons to a youth from Hamadan. rage 263 (162 x 170 mm). A conversation between Maulana MuJ:iammad Shirin Maghribi and a young salt seller, Sultan Bayazid, who drives an ass. Page 270 (148 x 170 mm). Amir Makhdum and others enjoy a sama ·. Psge 274 (169 x 170 mm). A youth who has hit Khwaja Abu al-Vafa' with a harp lies drunk on the ground while Abii al-Vafa' is asking for help. Page 282 (176 x 170 mm). Qasim-i Anvar with a youth who followed him from Khurasan to Samarqand. Page 'l87 (169 x 170 mm). A young man who posed as the poet Amir Sayyid '!mad al-Din Nasimi is arrested and about to be hanged, but he is freed at the intervention of Nasimi himself. Page 299 (176 x 170 mm). Mul).ammad Tabadkhani (?) attends a samit with sufis and dervishes. page 302 (162 x 170 mm). Khwaja 'Ubayd-Allah visits Maularui Khwaja Mal;unud, the bookbinder, at his shop.

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rage 307 (162 x 170 mm). The poet Jami meets the fourteen-year old 'Ali in a garden. rage 324 (176 x 170 mm). Iskandar Dhii al-Qamayn [Alexander the Great) fights a Russian demon, here shown as a black dev. rage 333 (176 x 170 mm). Farhad and Shirin meet at Mount Bisutiin. rage 341 (148 x 170 mm). Layla and Qays [later known as Majnunl as children in school. Page 356 (148 x 170 mm). Hurmuzd and the daughter of the ruler of Ahvaz lying on the ground intoxicated after feasting. Page 369 (148 x 170 mm). Sultan Jalal al-Din Malikshah comes to a nomad encampment and is greeted by a young man. rage 381 (162 x 170 mm). M"ir Isrna'il Gilani, Sultan Sanjar's amir, and Al;unad-i jam, a shaykh with whom he quarreled because of a beautiful youth. rage 382 (148 x 170 mm). Sultan Mulµmmad ibn Malikshah regrets having ordered a hanging when he was drunk. He is shown next to a gallows from which the corpse of an executed criminal hangs as the dead man's son asks for clemency. rage 384 (148 x 170 mm). Sultan Mas'iid ibn Sultan Mul).ammad ibn Sultan Malikshah Saljuqi encounters a youth whose horse has been stolen by his companions. rage 390 (169 x 170 mm). Sultan Sanjar at a bridge that spans a dry river-bed, sees dervishes beneath it, and asks advice from them. Psge 414 (169 x 170 mm). Ibrahim Sultan seated on a throne weeping. rage 423 (162 x 170 mm). Sultan Ya'qub ibn Amir f:lasan in conversation with a charming lad at the threshold of a tavern. Psge 430 (176 x 170 mm). A prince sees an old prisoner who has fainted under a gallows, an incident in the life of Abii Najib Khazari. page 435 (162 x 170 mm). A king served by a youth in front of a tent; they are surrounded by guests and musicians. rage 440 (148 x 170 mm). Shaykh Luqman while traveling comes across a boar and, while his companions flee, he kills it. Page 446 (141 x 170 mm). Amir Kamal al-Din J:lusayn Fana 'i talks with a dervish at the door of a kbilngilb. page 456 (148 x 170 mm). A youth cuts a hull in two in the presence of a king. EIUlorse1•11U: First flyleaf. Square seal-like arrangement of the Arabic "He is the Independent God", and in the centre of the page, the seal of Al).mad 'Ali Khan with a note, "This is the handwriting of Al).mad [Ali) Khan Bangash". Inscriptions, reading, (top) "This book of Al).mad 'Ali Khan"; (left) "When Nawwab Ghalib Jang had gone to Shahjahanabad (i.e., Delhi) he had gone there to the library (bottom) of the king and with the

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MUGHAJ. ANO PERSIAN PAINTINGS ANO IUUSTIV.TED MANUSCRIPTS IN 1liE RAZA LIBRARY. RAMPUR

consent of the king, this book (right) he had brought and he had given this book to Al)mad 'Ali Khan. If anyone claims lit), it will be void". Below, under the heading of the book's title Majillis al- 'usbsbilq, is a four-line note giving a brief biographical sketch - full name and genealogy back to Timur of the author Sultan l:fusayn-i Bayqara, dates in Hijri and Gregorian calendars, of his birth, accession to the throne, death, age, place of burial, poetical name and mention of his authorship of a Turkish Divan; the note is signed by AJ:imad ·Ali Khan, mur1¥1rlm ("in charge") of the library of Rampur State, dated 18 November 1903. Seco nd flyleaf. There are nine seals and many ownership notes and ·artJQuJas, of the time of Akbar, Jah:ingir, Shah Jahan and 'Alamgir, with the seals of· Arif, $adiq, and Am:inat Khan of Shah Jahan 's library; of Sayyid ' Ali al-l:fusayni of Aurangzeb's library; of Al)mad 'Ali Khan Bangash [whose note appears on the first flyleaf); and of Badr al-Daula Shuja' al-Mulk Mul:iammad Sa'adatmand Khan Bahadur Asad Jang, the ruler of Farrukhabad, dated 1238 (1822-23) (who was also the owner of Cat. no. IV.32). The earlier of two ownership endorsements is by the librarian, evidently, of M"irzi 'Abd al-Ral:iim Khan, Khan Khanan which reads, "On the date, the day of Friday, the fiJ'Sl of the month of Ohl al-l:lijja. the holy year 999 (20 September 1591) (this book) entered the library of the fortunate Nawwab of heavenly m ight sipbasillilr ("commander-in-chief") Khan Khanan, the son of one having abode in divine pleasure MuI:iammad Bayram Khan Khanan. At the place Bakkar (Bhakkar, in Sind). The Majillts al- 'usbsbaq was purchased from Khwaja Shaykh MuI:iammad. The value of this book is two hundred and fifty rupees". A seal above this note, to the left, is indistint1. The other ownership note reads, "On the date the twelfth of Dhi al-f:iijja of the holy Hijri year 1263, a Friday (21 November 1847, a Sunday!) the copy o f the Majillts al-'usbsbaq entered the library of the supplicant at the coun, Badr al-Daula Shuja' al-Mulk Mul:iammad Sa'adatmand Khan Bahadur Asad Jang, the son of Nawwab Amin al-Daula MuI:iammad Khiradrnand Khan Bahadur Babr Jang, the eldest son of Nawwab Shams al-Daula Mul;wnmad Khudabanda Khan Bahadur, son of Nawwiib MuI:iammad Khan Bahadur GhaQ;infar Jang, lord (wan) of the country ( mulk) of Farrukhabad. • The rectangular seal above this note reads: Badr al-Daula Shujii' al-Mulk Mul:iammad Sa'iidatmand Khan Bahiidur Asad Jang, the year 1248 (1832-33). Around this seal is (top) "Oh Allah! Oh Mut:iammad! Oh 'Ali! Oh l:fasan! Oh f:iusayn!" (right) •And he rests himself content with this (Persian) couplet; {bottom) This also is on loan like life"; Oeft) "Its o wner is none but the Lord of the Universe· . Below this seal occurs the one word e ndorsement, very probably in Shah Jahan's hand: sivum ("third"); below it, in the same hand(?), dar duvum duvum kb ("second of the second kb" [a lener of the alphabet); see similar ranking of Cat. no. IV.17 supra).

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The other endorsements on the second flyleaf are: (1) "God is Great! Inspected on 17 Khurdad, the month of Il:ihi year 16"; (2) To its right, "God is Great! Inspected on 16 Farvardin, the month of Ilahi year 10"; (3) Below this is the seal of •Arif, "the servant ofSh:ihJah:in"; (4) to the right of (1 ) is "Inspected on the date 18 Rabi' II, the year 30 la regnal year, probably of Shah Jahanl"; (5) Seal near it is indistinct; (6) To the left of (2), "On the 8th of the month of Oaj of Ilahi year 1 [of Shah Jah:in), from the charge of Mul;wnmad Mu 'min given to the charge of ·Abel al-Ghafffir"; (7) the seal to the left of (6), of "Sayyid 'Ali al-l:fusayni, a disciple of Shah 'Alamgir (Aurangzeb)"; (8) below (2), to the right, an altj'(for Allilbu Akbari 'God is Great")) "Inspected on the 11th Urdibihisht month of Ilahi year 9"; (9) seal below (8), of "~diq. by his soul, a servantofSh:ihJah:in"; (10) to the left of (8), "on 3 Bahman of Iliihi year 7, from the charge of ' Abd al-Ghaffur, entrusted to 'Ambar"; (11) between (8), and ( 10), the seal of Amanat Khan Shah Jahani (regnal year) 5/1042 (1632-33); (12) below (11), "Inspected on the 6th of the Amurdad month of Ilahi year 7"; Below (12), "Inspected on the date 29 Sha'b:in, the year 1069 ( 12 May 1659)"; (14) the seal below (13) is indistinct; and (15) to the left of(13), isa note, "Numberof majorstockholding, Rampur State, 792, [signed by) Al)mad 'Ali Khan". End flyleaf. ( 1) top, "Page 4"; (2) Note, a Persian hem.istich, "It is on loan with us for a few days". "1bis book was in the library of Akbar (the Mughal emperor Akbar II; r. 1806-37). With the consent of Akbar Badshah, Nawwab Ghalib Jang having gone to the library, had taken out this book"; (3) to the right of (2), top right comer, invened and slanting, "God is Great! Akbar, Shah Jahan, 'Alamgir Padshiih Ghazi, Sul\:in Adham, Sulayman the Prophet, Prince A'µ.m (wrongly spelled as ',i.µm) minister of Shujii'at ( sic) Oaula(?) amir al-mamalik Bild.. ."; (4) between (2) and (3), at the bottom, "God is Great! I.nspected Uah:ingir's time)"; (5) seal below (4) and evidently for that note, of FatJ:i-Allih, son of (f:iakim) AbU al-Fall) [Gilani!; (6) to the left of (5), an indistinct seal; (7) to the left of (6), a note, "On the date 11 of the month of ~far of the (Hijri]) year 24, from the charge of Khwa;a 'Ambar entrusted to Khwaja ~mad Uunayd?J. Value one hundred and fifty (in notation). Bound"; (8) to the right of (7), "On the 7th of Rabi' I year (Hijn1 30, from the charge of Mun'im Beg entrusted to Murad Beg. (Value), one hundred and fifty [in notation)"; (9) to the left of (8). the seal of QabiJ Khan, house-born [servant) of 'Alamgir, 109 [Hijn1; (10) below (9), "Entrusted to Mun' im Beg on the 23rd MuI:iarram [Jiijn1 year 31. Value, one hundred and fifty rupees [in notation) and 2 (?)"; ( 11) to the left of ( 10), "Inspected on the 9th $afar, year (Hijn1 50 (of Aurangzeb). [Signed) the crearure l:lif~ Khan"; ( 12) above it, in no tatio n , "150 and 2(?). Half ( ?) 125 ( ?) (in notation]. .. ·; ( 13) below (12), the Rampur Library seal; (14) below (13), "Inspected on the date 16 of the month of Jumid Qumada) I, year [Hijri) 21 (ofShahJahan)"; (15) below (14), a seal of AJ:imad Shahid, a disciple of Shah Jahan Bad~hah Ghazi; (16) to the left of (15), a seal, "God

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201

is kind to his creatures", evidently of 'Abd al-La!if; ( 17) right edge, wriuen on the slant, a note (of Jahangir's library), "God is great! On account of the property of the late Prince O:inyal Ison of Akbar who died 1013/ 164-51, on the date the 12th of Mihr month of llahi year 1, from the charge of Mulla Af:imad was .. . to the charge of Mehta{?) Damodar" (Damodarl; (18) a seal below (17), of one o f J ah angir's officials whose name is not visible; .. . Jahangir Badshah Ghazi; (19) to the left of ( 18), "Inspected on the 8th of Rabi' I year [Hijril 7"; (20) to the left of ( 19), "Inspected on the 16th o f Ramac_!an year (Hijn115"; (21) below (20), an indistinct seal; (22) to the right of (21), wriuen vertically, "Inspected on the 10th ofDhi al-Qa'da, year[Hijn126; (23) and (24) two indistinct seals, the lauer is a seal of one of the officials of Shah Jahan; (24) bouom, right and left "Value... one hundred and twenty-five (in notation). One hundred.. ."; (25) below (24) "God is Great! On the 27th of lsfand:irmuz month of llahi year 12, from the charge of Khwaja Habil>Alliih, entrusted to Muhammad Mu'min." l#bMogrwpby: Hafiz Nazir Ahmad, "Notes on Important Arabic and Persian Mss" [1918], pp. cclx-xi, no. 40. John Seyller, "The Inspection and Valuation of Manuscripts in the Imperial Mughal Library" lf997], pp. 310-11.

• IV.22 11"

P-3942 (M.lt.77/M. 566). K"'"'Sbiiill by Nqimi, Nqim al-Din AbU Mul}i•mmad Dy-. Ibo Yiisuf, of Ganja (cl. 6o6/ 1209). 373 pages. 190 x 120 mm, text box 150 x 63 mm. 2 columns, 16 lines. Nasta 'fiq. 3 miniatures. Copied Dhu al-Qa'da 995/ 23 September-22October 1587 by Mul)ammad ibn Kamal, with miniatures added in Shiraz, ca. 1600-25 and over-painting in India. < 140 mm, excluding dome). Mulµmrnad prays in a cave in Mount l:fui. Fol 34a ( 135 >< 135 mm, excluding dome; pl. 318). At Mount l;l ira, the angel Jibra 'ii (Gabriel) delivers a message to Muh.ammad about his being chosen as the chief prophet by God and he asks him to recite the first word of the first verse of Sura 96 (iqra').

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Fol 36a (150 x 138 mm). On the occasion of his receiving divine revelation (wa/?y) from the angelJibra'il, Prophet Mul:iammad stands surrounded by his companions. Fol 40b (160 x 140 mm). The companions of the Prophet present his message of Islam to the chief of the Bani 'Amman. Fol 44a (78 x 138 mm). The Quraysh elite led by Abu Jahl carrying on talks with MuJ:iammad and his companions. Fol S4b (163 x 137 mm). Muhammad's nocturnal journey or ascent to heaven (mi 'raj) on Buraq, led by Jibra'il. Fol 55b (142 x 138 mm). MuJ:iammad relates his experience of the mi'raj to his cousin Umm Halli. Fol 62a (145 x 140 mm). Mul:iammad leaves the Thaur Cave where he has hidden, for Yathrib, later called Medina. Fol 66a (145 x 138 mm). In Medina, Mul:iammad offers Friday prayers with his companions. Fol 74a(142x140 mm). 'AlitalkswithMuhammad about his maniage to the Prophet's daughter, for which mibr of 500 dirhams was fixed [and 'Ali sold his coat of mail to raise the money). Fol 79b (145 x 136 mm). Prophet MuJ:iammad and his companions come out of the city of Medina to greet Abu Sufyan [ibn l:farbl who is returning from Syria. Fol 84b (145 x 138 mm). MuJ:iammad and his companions fight the Quraysh. Measurements include a flag in the upper margin. Fol 87b (133 x 138 mm). 'Abbas and other prisoners in the presence of MuJ:iammad. Fol 90a (122 x 140 mm). MuJ:iammad and his men marching against Abu Sufyan's army (the Battle of Suwayq). Fol 93a (152 x 140 mm). Abu Sufyan in discussion with the Quraysh leaders at Dar al-Nadva after the Battle of Badr. The Dar al-Nadva ("House of Mutual Consultation") was the first building to be constructed, apart from the Ka'ba, in Mecca; it was built by Qu~yy. one of the ancestors of Prophet Muhammad. Fol 95b (145 x 140 mm). At Ul:iud, Mul:iammad leads his army against the Quraysh of Mecca. Fol IOOb (128 x. 138 mm). The Prophet puts his feet on 'Ali's shoulders in order to get out of a pit into which he had fallen in the course of the banle at UJ:iud. Fol Illa (165 x 140 mm; pl. 319). The woman Barriya (Babriyya) enters the Prophet's tent to pay respects to Mul:iammad and his wife 'A'isha. Fol 119b (145 x 145 mm). As 'Umar chases Zarar, Naufal falls from his horse due to fear of 'Ali [at the Banle of Khandaq). [Between folios l 19b and 127a, a miniature has been removed from the text; it is numbered 26.I Fol 127a (163 x 140 mm). MuJ:iammad with some of his associates. Fol 133a (145 x 140 mm)--1:4arqul, the 1Vng of Rum,

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asks Abu Sufyan certain questions about MuJ:iammad, his mission, etc. Fol 137a (148 x 135 mm). An enemy spy is brought before Prophet MuJ:iammad and his companions on the eve of the Battle of Khaybar. Fol 140b (146 x 139 mm). News that 'Ali has killed l:farith reaches Prophet MuJ:iammad. Fol 14th (145 x 140 mm). 'Ali killing Marlµb [in the Battle of Khaybar). Fol t46a (142 x 140 mm). A man from the Banu Bakr tribe [a group inimical to the infidel Quraysh but which join with them against MuJ:iammad) talks with people in Mecca. Fol 149a (160 x 140 mm). Muhammad and his companions leave the city of Medina for Mecca [for the conquest of Mecca). Measurement includes a flag in the upper margin. Fol 151a (160 x 140 mm). Muhammad at the head of his men [leaving the Camp Marr al-:µhriin] marches towards Mecca. Fol 152b (135 x 140 mm, excluding dome; pl. 320). 'Ali stands on MuJ:iammad's shoulders in order to climb onto the roof of the Ka'ba and break the idols there and throw them down. Fol IS4b (147 x 140 mm). MuJ:iammad and his followers ride to battle [at l:funayn). Fol 158& (115 x 140 mm). Either, MuJ:iammad asks his associates to build a mtmbar("pulpit"), or, Mul:iammad addressing the ~r who had felt somewhat agggrieved at the division of booty after the Battle of l:funayn. The dome in the upper margin is not included in the measurement. Fol 165a (130 x 140 mm). MuJ:iammad delivers a sermon at Ghadir-i Khum. [This is a well-known sermon in Shi'ite tradition, for in it the Prophet appoinis. 'Ali as his successor (~)).

Qafilla by Kiisbi Fol 178a (115 x 140 mm). MuJ:iammad and 'Ali sitting and conversing together, with the companions. Qafilla by Sbiirida Fol 188a (157 x 140 mm). Muhammad delivers a sermon (khu(ba) from a mtmbar in praise of 'Ali. Fol 192b (135 x 160 mm). 'Ali fights with 'Antar, the commander of 'Umar 'Abel al-Wudd. .Erulorsfmte1ds: On fly page, (1) a small oval seal of

Sayyid MuJ:iammad, the date is not distinct but seems to be 1226 (16 February 1809-5 February 1810); (2) a square seal of Sayyid MuJ:iammad, 1229/5 (regnal year; 24 December 1813-13 December 1814]. A note, "This book entered the establishment (sarlliir, that is, the Library) on 11Jurnada111240 (31 January 1825), (received) from Mirza Rashid(?) ·Ali. The rest of the scriblings on this page comprise Persian verses, recipes, prescriptions, and the Original from like.

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IV.30

P.3969 (M.K..570). Kbus""' va Sbirifl by NJijmi, Nqam al-Din AbU Mnl,Jammad Dyis Ibo Yiisuf, of Ganja (d. 6o6/1209).

196 pages. 340 x 210 mm, text box 225 x 140 mm. 4 columns, 17 lines. Nasta 'Tiq. 8 miniatures. Copied Dhu al-l:fijja 984/ 19 February-20 March 1577, possibly in Qazwin, or Istanbul. Colopbort: 'The book was completed with the help of the Munificent Lord in the months (shubur, sic) of Dhi

l:fijja 984". ProveNallce: In the Imperial Treasury, Qazwin. Owned

by $ayyid l:fusayn Isfahani in 1875. The cream paper has been inserted into pink margins bearing gold floral decoration. The illuminations are of high quality and include rinceaux around the colophon. The miniatures have large figures. The colors are bold, with rocks in vivid hues (p. 101, pl. 322). The painting style resembles the one traditionally attributed to Qazwin, ca. 1575. However, recently several illustrated copies of Q4~ al-anbiyil, by Isl)aq ibn Ibrahim ibn Ma~ur ibn Khalaf al-N"1Shapuri and other authors, in this style have been attributed to Istanbul by Riihrdanz, as the work of Persian emigre painters trained in the styles of Qazwin and Shiraz (Milstein, Riihrdanz, and Schmitz, Stories of the Prophets: Illustrated Manuscripts of ~1$ al-Anbiyil, pp. 41-64). On the other hand, because of endorsement (3) on the first fly page, it might seem probable that this Raza Library manuscript was made in Persia as the Imperial Treasury in Qazwin is mentioned as the place the book was held. A stylistically related manuscript in the Raza Library, a Ha.ft auran8 by Jami (infra, Cat. no. IV.31 ) was, according to its colophons, wrinen in Luristan (west Persia). II is thus possible that some of this group of painters may have worked in both Qazwin and Istanbul, and poinL~ in between. Miniature

Page 7 (225 x 140 mm). Mi'raj. Page 28 (225 x 140 mm). Shirin in Khusrau ·scamp. Page 40 (225 x 140 mm). Khusrau spies Shirin bathing. Page 86 (225 x 140 mm; pl. 321). Farhad visiL~ Shirin in her palace. Page 101 (225 x 140 mm; pl. 322). Shirin visits Farhad at work at Mount Bisutun. Page 126 (225 x 140 mm). Khusrau before Shirin's palace begs to be admined. Page 158 (225 x 140 mm). Khusrau and Shirin embrace.

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MANUSCRJPTS IN TiiE RAZA LIBRARY, RAMPt:R

Page 176 (225 x 140 mm). Shirin in her palace.

QAZWIN STYlE

*

ILLU~TRATEO

Erulorserrumts: On the fly page. (1) "93(?) [in Arabic notation] of illustrated Khusrau-Sbirin of Niµmi: size (qa{,, vaziri ("big"); paper, Samarqandi; text, white sprinkled; margin, red floral work (8ulkilri); regular borders; illustrated; binding... gold .... " The seal to its left and a little below it is not distinct. (2) To the left of (1), partly effaced, "Entered [the Library?) on the date 2(?) Rabi' I, the year 1180 (?; 8 August 1766)". (3) Below (1) ". . . (effaced) in the seat of the government (that is, [the Safavid) capital) Qazwin, the mu 'tamad al-khilqiln ("the trusted one of the monarch") Aqa Ka.ffir the ¥U!ilr jam' ("in charge of receipts") of the Imperial Treasury having brought out from the blessed royal residence (daulatkbilna), it was entered into the Library". A small square seal with it is effaced. (4) To the left of (2) and above (3) is an inspection note with an oval seal that has not come out in the xerox; probably dated "1115 Hijri (17 May 1703-5 May 1704)". (5) Below (3), an ' ar{krida that is not distinct. (6) [Inspected on)... of the month of Rabi' 111152 (8July-5 August 1739)". (7) To the right of (6), "Inspected on the date... of the month of Rabi 'II 11. .. (the last two digits are not readable)". (8l Top right, "lr!Spected on 5 Jurnada II, the year 1151 (20 September 1738)"; one more note of the twelfth century Hijri is not legible. On the second flyleaf, to the left of the Raza Library seal: "On Tuesday, 29 of the pure (mU¥J.ffe). $afar and after ( ba 'd) the festival ('id) of Nauruz, at the time when snow was falling from the sky, these five [verses were written by) the weakest of... Sayyid J:lusayn I~fahani, the year 1292 (5 April 1875), may... their blessings". On the page are written in the same handwriting a number of verses, obviously those referred to in the note. Below this, "From the pen of Sayyid l:fusayn I~ahani, and the date (stamped over by the Library seal)". Blb1'ograpby: Hafiz Nazir Ahmad, "Notes on Important

Persian Mss" 11918), p. ccciii, no. 2o6.

*

N.31

P.4157 (M.K.275). H~ aura11g ("The Seven Thrones") by Jimi, NU.. al-Din 'Abel al-R•~mio (d. 898/1492).

562 pages. 270 x 175 mm, text box 200 x 120 mm. 4 columns, 25 lines. Nasta 'Tiq. 18 miniatures. Copied ca. 1590 in Luristan. Cok>pbons: 'The book was completed with the help of

the Munificent Lord on the last day of the month of Shawwal, may it end with propitiousness and felicity, in the encampment (yilr1) of Bihistan-i Hardust(?)", p. 535. "The book was completed with the help of the Munificent Lord in the encampment (yurt) of Jalandariya in the districts (a 'ma{) 19fj~!irnlt\i."QfmP· 562.

UNIVERSITY OF MICHIGAN

MANUSCRIPTS IV.30. JV.31, JV.32

211

The dark cream paper has been inserted into new margins; three pages of notes at the end of the text are on the same later paper. Fine double sbamsas on the first opening bear the name of the book and its author. Well-rendered 'un~nsare on pages 4, 42, lo6, 196, 280, 328, 474, 510, and 535. The miniatures have several unusual features, such as the large flowers on blue fields and the presentation of hills on a diagonal. Detail of the clothing, the wide turbans of the men, and the short kerchiefs with long thin tails on the heads of the women follow Persian fashion of ca. 1585-90. There are dark lines under the eyes of the figures. The Raza Library Haft aurang is one of the later manuscripts of this Qazwin style (see Cat. no. IV. 30). M""""6n!s

Tu]/flll al-Abriir Page 34 (200 x 120 mm; pl. 323). An old man in a garden

sees a beautiful young woman [only the woman is shown). Page 76 (210 x 140 mm). An old man climbs up to a roof where his beloved stands.

YUsJf!va Zulayllbii Page 129 (150 x 140 mm). Zulaykha sees the king of

Egypt from a hole in her tent. Page 152 (185 x 140 mm; pl. 324). Zulaykha, attended by women of her court, welcomes the slave Yusuf. Page 160 (200 x 120 mm). Zulaykha talks with Yusuf, asking that he be her beloved. Page 165 (210 x 130 mm). Zulaykha shows her beautiful new slave to the women of her court. Page 177 (200 x 120 mm). Yusuf advises the king on his dream.

Laylii va Ma}lriUI Page 210 (210 x 140 mm). Layla visits Majnun in the wilderness. Page 227 (180 x 110 mm). The elders of the clan tell the story of Majnun. Page 243 (210 x 120 mm). Majnun in the desert talks with Abu Qayr. Page 265 (210 x 130 mm). Majnun comforted by Layla. Klnrtulllimla-' lsllaiular Page 314 (210 x 130 mm). lskandar meets with a sage

who lives in a cave.

SUslllll al-Dbabab Pa(lc: 439 (210 x 130 mm). An old man having sex with a camel is admonished by a bystander. Page 461 (115 x 110 mm). Majnun releases a deer that he purchased from a hunter. Page 494 (190 x 130 mm). A Muslim l outh in love

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with a Christian girl; they stand embracing in water, with three men in a boat looking on in astonishment. Page S04 (195 x 130 mm). Bags of money offered to-or for-a youth. Page 522 (190 x 130 mm). A cup-bearer who committed a mistake is pardoned by King Ni'lshirvan.

SaliimiUt VO AbsiU Page 551 (190x115 mm). Consummation of the marriage

of Saliiman and Absiil.

Brulorsenterlts: On pages with sbamsas. (1) top right, •Diviin-i Haft aurang of Maulavi Jami was purchased on 15 Sha'biin, the year 1193 (28 August ln9)"; and two, very probably identicial seals, over-inked and not legible. (2) A note below and to the left of the sbamsa on the left side has been scored out. At the end, the name Mulµmmad Mu 'min is somewhat legible. (3) An •arr!Quia below (2) was cut off in the [re-)binding and only one word wujub ("[on) account of") is legible.

U(PARS PROVINCE)

* IV.32 P.39al (M.lt.491). SbiUnliilrea by Flrdausi, Abii alQislm., of TUs (cl 411/1020). 865 pages. 430 x 245 mm, text box 295 x 155 mm. 4 columns, 24 lines with 48 lines written diagonally on the }/ilsbiya. Nasta'Tiq. 32 miniatures.

ln

Copied 3 Rajab 101 December 1602, probably in Ij, in the Shiraz region, for Imam Virdi Beg son of Alf (Alp) ~Ian Beg Dhu al-qadar, by Ghiyath al-Din ibn 'Abd alQiidir ibn Abi lsl):iq.

Colopbort.· "Finished is the book with the help of the bountiful lord and His beneficent guidance. It was completed on the 3rd of the month of Rajah the glorified, of the year, one and ten (and) one thousand by the order of His Highness, the outer garment (sbi'ar) of administration and justice, that is, the just officer of good habits and worthy actions, < 70 mm). The Qiblatayn (two qtblas, walls that denote the direction of prayers). Here one sees three m~/Ja (idgab, a place for outdoor prayer with the qibla wall and its mtllrab covered by a rooO

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and below them, a shrine on a hill with palm trees. There is perhaps a confusion here with a nearby site with four masjtds dedicated to the four orthodox caliphs. hge 101 (81 x 75 mm). Jabal-i Ul)ud, a mountain near Medina that is surrounded by the graves of f:lamza , the uncle of the Prophet, and martyrs of the Banle of Ut_tud. PzF lOS (210 >< 130 mm) . The Dome of the Rock in Jerusalem. The octagonal shrine has a dome covering the top of the rock from which, according to Muslim lore, Mut_tammad began his famous night ride to heaven ( mi'ri:IJ). Below is a cros.s-section of the al-Aq{l:i Mosque, and above a re various buildings and trees in the courtyard. There are four minarets in the comers of the courtyard and a sunounding arcade. EIUlorserHe#U: On the flyleaf, from to p right to bottom left. (1) "the price is twenty-five rupees"; (2) "This (book), from the charge of.... Aqa Kamal(?) on the date, the month of Dhi al-Qa'da 975 (April-May 1568)"; and (3) "[This was presented to?)" the brother of high worth, dearer than the soul Mut_tamrnad A~im $ah,ib".

• V.2 P.4207 (M.K.631). al-Din liri

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81 pages. 208 x 125 mm, text box 1S8 x 75 mm. 2 columns, 17 lines. Nasta "liq. 18 miniatures. Copied first half of the seventeenth century "in Mecca" by 'Abd al-Ral).m:in ibn 'Ali al-Kashmiri.

Colopboll: It was written by the humble and insignificant one, dependent on the mercy of God, whose help is sought, ·Abd al-Ral).m:in son of• Ali al-Kashmiri, may God pardon the sins of both and cover the defectS of both (the father and the son). He was free from writing this copy in Mecca, the honoured and the magnificent, may the Exalted God add to its honour and greatness, on the date five and twenty of the month of RamarJtw .

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