Narrative Illustration in Persian Lithographed Books (Handbook of Oriental Studies: Section 1; The Near and Middle East) [Illustrated] 9004121005, 9789004121003

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Narrative Illustration in Persian

Lithographed Books

ss Sieh

~Marzolph

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eng

Digitized by the Internet Archive in 2023 with funding from Kahle/Austin Foundation

https://archive.org/details/narrativeillustrOOOOmarz

NARRATIVE ILLUSTRATION IN PERSIAN LITHOGRAPHED BOOKS

HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION ONE

THE NEAR AND MIDDLE EAST EDITED BY

H. ALTENMULLER - B. HROUDA - B.A. LEVINE - R.S. O’FAHEY K.R. VEENHOF

- C.H.M. VERSTEEGH

VOLUME SIXTY

NARRATIVE ILLUSTRATION IN PERSIAN LITHOGRAPHED BOOKS

NARRATIVE ILLUSTRATION IN PERSIAN LITHOGRAPHED BOOKS BY

ULRICH MARZOLPH

BRILL LEIDEN : BOSTON : KOLN 2001

This book is printed on acid-free paper.

Library of Congress Cataloging-in-Publication Data Marzolph, Ulrich.

Narrative illustration in Persian Lithographed books / by Ulrich Marzolph. p: cm. — (Handbook of Oriental studies.. Section one, Near and Middle East, ISSN 0169-9423 ; v. 60. = Handbook der Orientalistik) Includes bibliographical references and index. _ ISBN 9004121005 (hardcover : alk. paper) 1. Narrative art, Iranian—19th century.

2.Narrative art, Iranian—

—20th century. 3. Illustration of books—Iran—19th century. 4. Illustration of books—Iran—20th century. 5. Lithographed books—Iran. I. Title. II. Handbuch der Orientalistik. Erste Abteilung, Nahe und der Mittlere Osten ; 60. Bd.

N7433.93 .M37 2001 745.6749 15—dc21

Die Deutsche

2001025575 CIP

Bibliothek — CIP-Einheitsaufnahme

Marzolph, Ulrich: Narrative illustration in Persian lithographed books / by Ulrich Marzolph. — Leiden ; Boston ; Koln : Brill, 2001 Handbook of oriental studies : Sect. 1, The Near and Middle East ; ol. ee ISBN 90-04-12100-5

ISSN 0169-9423 ISBN 90 04 121005

© Copynght 2001 by Koninklyke Brill NV, Leiden, The Netherlands All nghts reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Bnil provided that the appropriate fees are paid directly to The Copynght Clearance Center, 222 Rosewood Drive, Suite 910 Danvers MA 01923, USA. Fees are subject to change. PRINTED

IN THE NETHERLANDS

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FOREWORD The present study owes its conception to my visual fascination with a particular field of Persian art. It introduces a distinctive type of the “Islamic” book which has so far been largely neglected: the genre of illustrated lithographed books produced in nineteenthand early twentieth-century Iran.’ Of the various types of Persian illustrated lithographed books, the study surveys those pertaining to one particular category of illustrations, albeit the largest one, here labeled “narrative illustration”. In Iran, illustration in |

lithographed books has been employed for a variety of purposes, including its use in scientific books and school manuals, travel accounts, historical studies, translations of European literature, and also portraits in journals of the Qajar period. The modes of illustration employed in these types of books share a common denominator inasmuch as they aim at a more or less realistic depiction of their subject matter, whether this be human anatomy, astrology, chemistry, historical places or the portrait of a contemporary politician. Narrative illustration as conceived in this study is a natural counterpart | to realistic depiction. Its subject matter is mostly fictional and relies on traditional imagery. Even though narrative illustration may at times profit from depicting aspects of contemporary reality, the realistic garb is employed only in order to clothe traditional topics. ‘The few pieces of historical, scientific or otherwise educational nature that have been included in the present survey share the characteristic of illustrating their themes in a style closely related to or reminiscent of tradition. Indeed, narrative illustration in lithographed books of the Qajar period constitutes the legitimate successor to the previous mode of manuscript illustration. Being a German orientalist scholar who for the past twenty years has specialized in the folklore, folk narrative and popular culture of the Islamic Near and Middle East, | first became acquainted with lithographic illustration in 1984, when I translated a selection of Persian folk-tales. A fellow-student suggested reproducing an illuminated chapter-heading with figural ornaments from the 1271/1853 edition of Naraqi’s Anis al-movahhedin which I eventually did publish with its calligraphy slightly adapted.’ Already at that time, and more so when researching Persian chapbooks of the midtwentieth century in 1993, I came to notice that illustrations in those chapbooks often

' Except for the passages concerning Ferdousi’s Shah-name, Persian lithographed books of obvious Indian origin have not been considered. For those, see Scheglova, O. P. 1999. “Lithograph versions of Persian manuscripts of Indian manufacture in the nineteenth century.” Manuscripta Orentaha 5,1:12-22. 2 Persische Marchen Miniaturen, erzahit von Maschdi Galin Chanom, niedergeschrieben von L. P. Elwell-Sutton, herausgegeben und tbersetzt von Ulrich Marzolph, Koln: Eugen Diederichs 1985, p. 2 (with a playful adaptation of the stereotype introductory formula of Persian folktales, yeki bud, yeki nabud).

VIII

FOREWORD

reproduced items originating from an older tradition.’ Only upon locating the original sources did I realize the full potential of narrative illustration in lithographed books of the Qajar period, a field whose charm lies in combining both intellectual challenge and visual attraction. The folklorist background of the present study implies a focus slightly different from that of an art historian. Lithographic illustration in Iran, though it never reached the artistic standard of manuscript illumination, has produced a limited number of true masterpieces, such as the 1264/1847 edition of Nezami’s Khamse, illustrated by Mirza ‘Ali-Qoli Khwi, the 1274-76/1857-59 edition of the Romuz-e Hamze, illustrated by Mirza Hasan, or the 1280/1863

edition of Tohfat al-zakerin by Mirza Mohammad

Chelabi Bidel, illustrated by Bahram Kermanshahani. In contradistinction to the standard art-historical approach, research for the present study has at no point focused on the technical expertise displayed in masterpieces of the art of the book. Instead, the author has endeavored to keep in mind the social significance of lithographic illustration. Illustrated manuscripts were accessible to a small and highly privileged minority of wealthy customers. Compared to their refined quality, lithographic illustration is a modest art, at times even tempting the viewer to judge it in terms of decline or degeneration. Yet, unlike illustrated manuscripts, lithographic illustrations, owing to their wider — though still limited — distribution, were a little closer to the people, a social aspect linking them to narrative stucco-work (gach-kan) in public buildings (such as the Hammam-e Vakil in Shiraz), to illustrated tile-work (kashi-kari)* or to the peculiar kind of popular painting known in Iran as coffee-house painting (naggashi-ye gahve-khane).” Although one should be careful not to overestimate the social relevance of lithographic illustration, previous research has justly termed as “popular” both the literature illustrated (Russian: lubok)° as well as the actual items illustrated (French: inagerie populaire).’

* Marzolph, U. 1994a. Dastdnha-ye Sirin. Fiinfzig persische Volksbiichlein aus der Mitte des Kwanzigsten Fahrhunderts. Wiesbaden. * Homayuni, §. 2535/1976 (2nd ed. 1371/1992). Hoseiniye-ye Moshir. Teheran: Sorush; Peterson, S.R. 1979. “Painted tiles at the Takieh Mu’avin ul-mulk (Kirmanshah).” Afkten des

VII. Internationalen Kongresses fiir wranische Kunst und Archdologie Miinchen 7.-10. September 1976. Berlin: Dietrich Reimer, pp. 618-628; Seif, H. 1376/1997. Naqqashi-ye ru-ye kashi. Teheran, Sorush. ° Kalantari, M. 1971. “Le Livre des Rois et les peintures des maisons de thé.” Objects et mondes 9,1:141—158; Kalantari, M. 1352/1973. “Razm va bazm-e Shah-name dar pardeha-ye

bazari-ye ‘qahve-khane’l’.” Honar va mardom 12,134:2-15; Les Peintres populaires de la legende persane/Popular Paintings and the Persian Legend. s.a. [1974] Catalogue of an exhibition in Paris (Maison de I’Iran); Seif, H. 1369/1990. Maggashi-ye qahve-khane. Teheran, Sorush. ” Bertels, E.E. 1934. “Persidskaya ‘lubochnaya’ literatura.” Sergeyu Fedorovichu Oldenburgu k pyatidesyatiletryu nauchno-obshchestvennoy deyatelnosti 1882-1932. Leningrad, pp. 83-94. ’ Vinchon,J.1925. “L’imagerie populaire persane.” Revue des arts asiatiques 2,4:3—9; Massé, H. 1960. “L’imagerie populaire de l’Iran.” Arts astatiques 7:163-178.

FOREWORD

IX

To date no complete list of illustrated Persian lithographed books is known, much less so the number of various editions of specific works. Research undertaken for the present study has resulted in documenting some 1 10 illustrated lithographed books in a total of about 350 particular editions. The most popular of these books — Sa‘di’s Kolleyat, Hablerudi’s fame‘ al-tamsil, and Jouhari’s Tufan al-boka’ — have been produced in more than a dozen different editions in the period under consideration. Since this is a first assessment of a field that needs to be explored in detail, the research undertaken has aimed to consider a representative sample of works. In terms of chronology, special care has been taken to document the production of the first two decades of lithographic illustration (1259-80/ 1843-63) in as exhaustive a fashion as possible. Meanwhile, the ever growing range of illustrated lithographed books in the later Qajar and early Pahlavi periods has been taken into account only in exemplary cases. The number of illustrations contained in the books considered ranges from a single one to more than 300 (in copies of the ‘Aja’eb al-makhlugat). Altogether, far more than 10,000 illustrations have been surveyed, all of which are currently available in scanned format. Even though the sheer numbers are impressive, the few definite answers gleaned concerning the modes of production, artists involved and topics of lithographic illustration remain minor compared to the large quantity of unsolved questions, above all those relating to distribution and readership. In this respect it should be remembered throughout the present study that, while it appears fairly easy both to supply a rough outline of the development of illustration in Persian lithographed books as well as to point out highlights, it remains extremely difficult to anticipate whether such knowledge will retain its apparent reliability when more data are revealed. A second caveat relates to the nature of research done and the presentation to be expected here. Since previous research in the field of lithographic illustration is extremely limited, this study is primarily based on the z situ examination of the items concerned, and the relevant findings are presented here in a more or less descriptive manner. While the significance of lithographic illustration for the history of art in the Qajar period should be duly acknowledged, no serious attempt has been made to compare lithographic illustration to manuscript illustration, whether earlier or contemporary in date. In order to facilitate future comparison and analysis, the reading listed in the bibliography records not only studies directly related to the present theme but also studies treating recurrent topics and background information about the art of the illustrated book, both European and “Islamic”. In a previous publication,® I have already expressed my strong conviction that Persian lithographed books, given their unique and fragile character, deserve to be treated with the same respect and care as manuscripts, a statement whose relevance 1s

® Marzolph, U. 2000. “Bahram Gir’s spectacular marksmanship and the art of illustration in Qajar lithographed books.” In Studies in Honour of Clifford Edmund Bosworth. 2: The Sultan’s Turret: Studies in Persian and Turkish Culture. ed. C. Hillenbrand. Leiden, Boston, Koln: Brill, pp. $3947 ,at3o0. Sq.

x

FOREWORD

bound to increase in the future. Lithographed books in Iran were probably printed in some 300 or 400 copies, many of which at the turn of the twenty-first century might only be preserved in a single complete copy in some as yet unknown private collection. The plain text of many a book published in lithographed editions is frequently known by way of other editions, and in Iranian as well as orientalist scholarship critical editions diligently prepared in the twentieth century are usually preferred to lithographed editions because they are supposed to present a more reliable text. The dominant preoccupation with textual criticism is probably responsible for the fact that Qajar lithographed books have rarely been regarded as an original artistic expression in their own right. Yet each lithographed book contains a specific layout, and, if illustrated, a number of at times highly original illustrations. As for thei cultural background, Persian lithographic illustrations introduce the viewer into a world of fantasy and imagination prevalent in contemporary narrative literature. In the Qajar period, the splendor of Iran’s glorious past constituted but a fainting memory, and Persian society . was in a transitory period. Accordingly, the narrative literature current in the Qajar period shows a marked ambivalence between escapist tendencies on the one hand and preserving Persian identity by emphasizing traditional codes of behavior on the other hand. Considering these circumstances, illustrations in Persian lithographed books constitute a unique document for appreciating the art and culture of the Qayar period. The present study could not have been achieved without help and encouragement from various quarters. First and foremost, my sincere gratitude goes to all institutions and their librarians as well as other individuals who furthered my insight into the field by granting me access to their collections, by advising me and by allowing me to photocopy or prepare microfilms from items in their holdings. I particularly thank Sedige Soltanifar and her collaborators in the department of lithographed books at the National Library in Teheran, who have repeatedly borne my presence in their place of work. A full list of public libraries consulted over the years follows this foreword. In addition to public holdings, several colleagues and collectors, most of whom prefer to remain anonymous, have graciously allowed me to profit from their expertise while sharing with me their love and enthusiasm for the subject; their holdings are indiscriminately marked as PC (= private collection) only. While encouragement in the initial phases of research was kindly supplied by the doyen of Qajar art history, Basil W. Robinson, it is my great pleasure to acknowledge the continuous and generous assistance of Persian friends and colleagues such as Jaber Tarraqi and Javad Safi-Nezhad, both of whom supplied many insights from their extended personal experience. A number of young Persian colleagues who have recently specialized in the field of lithographic illustration allowed me to profit from their research by supplying copies of their unpublished theses. In this regard, I am particularly grateful to Amir-Hosein Aqapur in Teheran and Mohammad-Reza Fazel Hashemi in Mashhad, both of whom moreover generously shared their time and expertise with me and supplied data that would otherwise have remained unknown to me. Though this is not an obligatory element of the academic ritual, I would also like to acknowledge my indebtedness to

FOREWORD

XI

the published works of the Russian persianist scholar Olimpiada P. Shcheglova. Her study on lithographed books in Iran’ is an excellent general introduction into the field, and it is truly unfortunate that because of language barriers neither of her studies has been internationally acknowledged. The debt owed to Shcheglova’s catalogues and studies is much greater than my footnoting suggests. In some ways, my own study is essentially a much-expanded version of a ten-page chapter in Shcheglova’s book. The archive of lithographed illustrations on which the present study relies has been built up over a period of almost ten years. During that period, various assistants have prepared thousands of photocopies and then scanned and edited thousands of images. Without their help in making the collected material accessible, this survey could never have reached its present depth. Both British and American native speakers of English have kindly checked draft versions of the present text. Besides Irene Schultens, I am grateful to Robert Hillenbrand for subjecting the text to his meticulous proofreading. Needless to mention that whatever flaws or inaccuracies remain are mine. Over the past years, | have read papers on Persian lithographic illustration at various international meetings in Columbus (Ohio), Bethesda (Md), Halle, London, Paris, Teheran, and Cambridge, and my special thanks go to the respective audiences for their comments and criticism. Arising from these occasions, several articles in relation to some of the more specific aspects of lithographic illustration have been published. While each of those articles has served as a precursor to the present study by developing specific ideas, they also included some general information. Accordingly, a certain amount of repetition in both content and wording is bound to occur in the relevant passages of this study. A condensed version of the main ideas presented here is to be published in the proceedings of the London conference The Qajar Epoch: Culture, Art and Architecture, organized by the Iran Heritage Foundation in September, 1999.

Gottingen, March 2001

° Shcheglova, O.P. 1979. Iranskaya litografirovannaya kniga. Moscow; cf. also the numerous studies listed in the bibliography, particularly ead. 1995. Litografskoe knigoizdamie na persidskom pazyke v XIX v. v Trane i Indii (na osnove Sankt-Peterburgskikh kollektsu). Dissertatstya. St. Petersburg.

LIST OF LIBRARIES CONSULTED

BSPK CSC CUL FOS GSF GUM HDMG IUK

LBL LDSA LDUB LPMK LPUB LSOAS MAQ. MBS NYPL PBN PC PELO POU RANL SPOI

SPUG TBKM TDA LO TFZA TKM TMD TMJ TML TUB ZOS

\

Berlin, Staatsbibliothek Preussischer Kulturbesitz

Cologne, Shiite Collection (cf. Amir-Arjomand 1996) ‘Cambridge, University Library Frankfurt, Orientalisches Seminar del talent Wolfgang Goethe-Universitat Gotha, Forschungs- und Landesbibliothek SchloB Friedenstein Graz, Library of Uto Melzer (cf. Rastegar/Slaje 1987)

Halle, Bibliothek der Deutschen Morgenlandischen Gesellschaft Istanbul Universitesi Kiitiiphanesi (cf. Karatay 1949) London, British Library (British Museum) (cf. Edwards 1922) Leiden, Smitskamp Oriental Antiquartum Leiden, Universiteitsbiblioteek °

Leipzig, Museum ftir Kunsthandwerk Leipzig, Universitatsbibliothek Albertina London, School of Oriental and African Studies Mashhad, Ketabkhane-ye markazi-ye Astan-e Qods-e Rezavi Munich, Bayerische Staatsbibliothek New York, New York Public Library Paris, Bibhothéque Nationale private collection (various) Paris, Ecole nationale des langues orientales vivantes (Langues’O) Prague, Akademie véd Ceske republiky, Orientalni dstav Rome, Accademia Nazionale dei Lincei

St. Petersburg, Oriental Institute of the Russian Academy of Sciences (cf. Shcheglova 1975) St. Petersburg University, Gorkiy Library (cf. Shcheglova 1989) ‘Tabriz, Ketabkhane-ye melli Teheran, Ketabkhane-ye Daneshkade-ye adabiyat, Daneshgah-e Tehran Teheran, Ketabkhane-ye markazi-ye Daneshgah-e Tehran Teheran, Ketabkhane-ye Farhangestan-e zaban va adabiyat Teheran, Ketabkhane-ye melli Teheran, Mo’assase-ye Dehkhoda Teheran, Ketabkhane-ye Majles Teheran, Ketabkhane-ye Malek Tubingen, Universitatsbibliothek Zurich, Orientalisches Seminar der Universitat

1. INTRODUCTION In recent years, Persian art of the Qajar period (1193-1342/1779-1924) has increasingly gained attention.’” While this statement holds true for oil painting and lacquer-

work, the art of the book in the Qajar period, except for a few highlights,'’ remains deplorably unknown. Western research has for a long time defined the so-called “Islamic” book as a manuscript production.” With the notable exception of the Danish

scholar Johannes Pedersen’s pioneer study, originally published in 1946," the printed book, whether produced from movable type or lithography, by definition was ruled out. As early as 1946, the Persian scholar Sa‘id Nafisi pointed out Persian illustrated lithographed books as a deserving field of research.'* Since then, Persian scholars have taken casual notice of the subject as part of their cultural heritage in a period of cultural decline,’’ while Western scholars in a small number of articles have treated the

topic as a phenomenon of popular culture.’° En passant, it may be noted that illustration is a regular phenomenon in lithographed books in Turkish'’ and in other Turkic

'° Ansari, F.M. 1986. Die Malerei der Qadjaren. Doctoral Dissertation Tiibingen; Guadalupi, G. (ed.) 1990. Qajar. Milano: F. M. Ricci.; Adamova, A.T. 1996. Persidskaya zhwopis’ 1 risunok AX V-XIX vekov v sobranu Eremtazha. St. Petersburg: A. O. Slavia; Diba, L. S., with M. Ekhtiar, eds. 1998. Royal Persian Paintings. The Qaar Epoch 1785-1925. London: I. B. Tauris, New York: Brooklyn Museum of Art; Raby,J. 1999. Qyar Portraits. London, New York, Azimuth Editions in association with the Iran Heritage Foundation. '! Emami, K. (ed.) 1379/2000. Golestan Palace Library. Portfolio ofMiniature Paintings and Calligraphy. Teheran: Zarrin & Simin Books, at pp. 223-249. '2 See, e.g., Arnold, T.W., and A. Grohmann (edd.) 1929. The Islamic Book. A Contribution to Its Art and History from the VII-XVIII Century. [London?:] Pegasus Press; Robinson, B.W. (ed.) 1976. Islamic Paintings and the Arts of the Book. London; Welch, A., and S.C. 1982. Arts of the Islamic Book. The Collection ofPrince Sadruddin Aga Khan. Ithaca, London: Cornell University Press; Atiyeh, G.N. (Ed.) 1995. The Book in the Islamic World: The Written Word and Communication in the Middle East. Albany, N.Y.: State University of New York. 'S Pedersen,J. 1984. The Arabic Book. Translated by G. French, ed. with an introduction by R. Hillenbrand. Princeton, N. J.: Princeton University Press, p. 131-141. ' Nafisi, S. 1324-25/1945-46. “San‘at-e chap-e mosavvar dar Iran.” Payam-1 nou 2,5:22-35; id. 1337/1958. “Nakhostin chaph4-ye mosavvar dar Iran.” Rahnama-ye ketab

Wesh2324240; 15 Afshar, I. 1344/1965. Seir-e ketab dar Iran. Teheran: Amir Kabir. 16 Vinchon 1925; Bertel’s 1934; Massé 1960.

'7 Zellich, G. 1876. Notice historique sur la lithograph et sur les origines de son introduction en Turquie. Paris, Kabacah, A. 1989. Tiirk Kitap tarihi. vol. 1. Istanbul:92-98; Aksel, M. 1960. Anadolu Halk Resimlen. Istanbul; Derman, G. 1989. Resimli Tas Bashi. Halk Hikdyelen. Ankara.

2

INTRODUCTION

languages." In Arabic lithographed books ~ with the notable exception of the Teheran edition of Damiri’s Hayat al-hayawan printed in 1285/1868 by Allah-Qoli-Khan Qajar and containing more than 1,400 miniature images on the margins — illustrations

appear to be extremely rare.” In comparison to the high esteem which manuscripts have attracted, printed books in Iran until quite recently were treated with little respect. Today, public awareness of their significance is beginning to manifest itself at a time when huge amounts of books are no longer physically accessible. It is a well-known paradox of studies in popular literature that its degree of popularity is to some extent indicated by the rarity or the very absence of any preserved texts. After all, literature by definition is produced in order to be read, and the more that books are read the more they become torn and tattered. Eventually, they go out of use and are either discarded or at best left to decay in some attic or cupboard. In this way, a large part of the lithographed book production of the Qajar period might be gone forever, and many items are probably preserved in single copies only. Although such a statement risks beg interpreted as nostalgia by a Western reader, it must be made to clearly indicate the difficulties research still faces in a field so close to the present day. Just a few years ago, the Teheran National Library decided to store lithographed books apart from the main stacks. A first Bibhography ofLithograph[ed] Textbooks Available in the National Library of the Islamic Republic ofIran has been published as recent as 1997,”° and the compiler, Sedige Soltanifar, and her team are currently working to publish a general catalogue of lithographed books in their library. Earlier ventures to assess specialized holdings of lithographed books m Iranian libraries include the catalogue of the library of the Organization for Cultural Documents of the Islamic Revolution

published in 1992”! and a Descriptive Bibliography of Part of the Collection of Lithographed Works at the Faculty of Letters and Humanities Library at the University of Teheran, compiled by Akram Mas‘udi in 1374/1995.” Meanwhile, the specific field of

* Chabrovy, G.N. 1984. “Illyustratsiyavturkestanskoy litografirovannoy knige (1908-1916 ge.).” Kuga 49:95—-106; Ergalieva, R.A. 1982. “Iz opyta knizhnoy illyustracii k proizvedeniyam folklora.” Qazag ‘ylym akademiyasynyn khabarlary/Izvestiya Akademii Nauk Kazakhskoy SSR 2:53-56. '’ Gacek, A. 1996. Arabic Lithographed Books in the Islamic Studies Library, McGill University. Descriptive Catalogue, Montreal: McGill University Libraries. °° Soltanifar, S. 1376/1997.

Fehrest-e kotob-e darsi-ye chap-e sangi mowjud dar Ketabkhane-ye

melli-ye Fomhuri-ye eslami-ye Iran. Teheran: Ketabkhane-ye melli-ye Jomhuri-ye eslami-ye Iran. * Fehrest-e Ketabha-ye chap-e sangi moujud dar Ketabkhane-ye Sazman-e madarek-e farhangi-ye Engelabe eslam. Teheran 1371/1992.

* Mas‘udi, A. 1374/1995. Fehrest-e tahlili-ye ketabha-ye chap-e sangi-ye Iran (gat'-e rahli) moujud

dar ketabkhane-ye Daneshkade-ye adabiyat va ‘olum-e ensani-ye Daneshgah-e Tehran. [Thesis] Daneshgah-e Tehran. Daneshkade-ye ravan-shenasi va ‘olum-e tarbiyati, goruh-e amuzeshi-ye ketabdari va ettela‘ resani. Payan-name bara-ye dar-yaft-e daraje-ye karshenasi-ye arshad-e doure-ye nosakh-e khatti va asar-e kamyab.

INTRODUCTION

3

illustrated lithographed books has received particular attention in a number of theses,” two of which deserve particular mention. Mohammad-Reza Fazel Hashemi, besides giving a thorough introduction to the field, has endeavored to prepare a special catalogue of the holdings of illustrated lithographed books in the central library of the Mashhad sanctuary (Ketabkhane-ye markazi-ye Astan-e qods-e Rezavi),”* and Amir-Hosein Aqapur, in a spirited study, has diligently researched the representation of contemporary material culture by comparing the illustrations contained in some 44 illustrated lithographed books held in the Teheran National inaierth with the Eealiites of contemporary society as depicted by photography of the time.”

1.1. Sources of Information

In her monographic study, Shcheglova has supplied the basic data on sources of information as well as on the history of lithography (and printing from movable type) in Iran.”° Besides a few general remarks and reference to (mostly Persian) publications not known to Shcheglova, the following passages focus on discussing the sources that

have been used to locate the specific items of Persian illustrated lithographed books discussed and catalogued in the present study in libraries worldwide. Information about lithographed books in general and illustrated lithographed books in particular (apart from the above-quoted catalogues and studies as well as those listed in the following passage on the history of printing in Iran) is obtainable from three different categories of sources. Besides the obvious reference works such as the published catalogues of internationally renowned libraries to be discussed below, these sources include contemporary information about the availability of books such as that published in

*° Hashemi Dehkordi, H. 1362/1983. Khosusiyat-e safhe-a@ra7i va tazhib dar ketabha-ye chap-e

sang. Daneshgah-e Tehran, Daneshkade-ye honarha-ye ziba. Payan-name-ye tahsili-ye reshteye grafik; Safaiyan, F., and S. Ghaffari 1374-75/1995—96. Bar-rest-ye chap-e sangi dar kotob-e dastan’ va mazhahi. [Thesis] (madrak-e karshendsi) Daneshgah-e azad-e eslami, Vahed-e Tehran-e markazi, Daneshkade-ye honar va me‘mAri, sal tahsili nimsale-ye dovvom-e 74-75; Kuklan, Sh. 1375-76/1996-97. Mo‘arrefi va bar-resi-ye Khamse-ye Nezami moshtamel bar: Makhzan al-asrar, Leili va Majnun, Khosrou va Shirin, Haft pekar mahfug dar Ketabkhane-ye melli-ye Iran chap-e sangi. [Thesis] Daneshgah-e azad-e eslami, Vahed-e Tehran-e markazi, Daneshkade-ye honar va me‘mari. ** Fazel Hashemi, M.-R. 1377/1998. Bar-resi-ye vizhegiha-ye ketabha-ye chap-e sangi-ye mosavvare ketabkhane-ye markazi-ye Astdn-e qods-e Rezavi. Markaz-e amuzesh-e zemn-e khedmat-e karkonan. Payan-name-ye doure-ye kar-shenasi-ye arshad-e ketabdari. Mashhad. °° Aqapur, A.-H. 1377/1998. Bar-resi-ye mardom-negarane-ye vizhegiha-ye farhangi-ye doure-ye naseri (quaniye) (1264-15 13 hejri qamari) be-revayat-e naqqashiha-ye ketabha-ye chap-e sang. “Ejtemad wat dar naqgashi”. [Thesis] Daneshgah-e Tehran. Daneshkade-ye ‘olum-e ejtema'l. Payan-name, karshendsi-ye arshad, reshte-ye mardom-shenasi.

° Shcheglova 1979:5-23.

INTRODUCTION

Gs

Oriental catalogues or orientalist bibliographies and catalogues of nineteenth-century European sales or auctions. Two contemporary listings of the Persian books available early in the second half of the nineteenth century deserve particular attention. One of the earliest relevant lists of books printed in Iran (the Persian term used is basmd karde) is contained in a letter by the Russian orientalist scholar Bernhard Dorn to his German colleague Heinrich Leberecht Fleischer dated January 8/20, 1852 (corresponding to Rabi‘ I 27, 1268)?’ While 35 items produced in Teheran (dar al-khelafat-e Tehran) and 45 items produced in Tabriz (dar [al-saltanat-e Tabriz) are listed, there is no indication whether the books were printed by typography or lithography, and illustrated items can only be identified by way of information gained from other sources. More or less the same criteria apply to the second list, which is appended to the 1281-82/1864-65 edition of Mirza ‘Abdalvahhab Mo‘tamed al-Doule Nashat’s Ketdb-e Ganjine (figs. 1-3). While the first hist follows no discernible order, the second list is arranged according to classified subject categories such as fégh, osul, tafsir etc., the last categories consisting in narrative literature (gesse va hekayat) and children’s literature (bachche kh[’/an.), in both of which the majority of items is known to have been produced in illustrated editions. Even though the amount of exact information supplied by these lists is limited, they convey a fair idea of the range of Persian book production in the middle of the nineteenth century. Contemporary bibliographies such as those compiled by Julius Theodor Zenker’® or Moise

Schwab” promise by their titles detailed specialist information about Persian books. While not distinguishing between European editions and Indian or Persian imprints, they reflect the orientalist attitude of regarding Oriental text editions not for their own merit but rather as raw material for scientific study of a European type. Illustrated Oriental editions are rarely pointed out as such, with occasional exceptions, such as Zenker’s mention of the 12[65—-]67 edition of Ferdousi’s Shah-name as being “orné @illustrations”.*° Closely linked to the category of booklists and bibliographies is the category of catalogues of sales or auctions, so far largely unexplored inasmuch as the information on contemporary book production is concerned. It is particularly in the library catalogues of nineteenth-century orientalist scholars that valuable information about Persian books available at that time is contained. This information on the one hand may lead to identifying specific copies nowadays known to belong to public libraries; on the other hand, it often supplies data beyond those available by other means, especially when the present whereabouts of the actual items mentioned remain niles he *” Dorn, B. 1852. “Aus Briefen des Staatsraths von Dorn.” Keuschrifi der Deutschen Morgenlindischen Gesellschaft 6:405—408; see also id. 1866. “Catalogue des ouvrages arabes, persans et turcs, publiés 4Constantinople, en Egypte et en Perse qui se trouvent au Museé asiatique de P Académie.” Mélanges asiatiques 5:465-528. * Zenker, J.Th. 1861. Bibliotheca orientalis. Leipzig. vol. 2:35-43, 48-51.

*° Schwab, M*. 1875. Kotob-e farsi. Bibliographie de la Perse. Paris: Ernest Leroux.

* Zenker 1861:38.

INTRODUCTION

5

indefatigable bibliographer Victor Chauvin, in passages relating to the works he researched in detail, namely the Arabian Nights and Kalla wa-Dimna, occasionally referred to Persian editions of those works. He quotes the 1261/1845 Iranian editio princeps of the Anvar-e Soheili, the 1282/1865 edition of Kalle va Demne, and a 1280/1863

edition of the Arabian Nights as listed in the sales catalogue of items of Persian art originating from the estate of Mirza Reza Khan auctioned in 1894 by Ernest Leroux in Paris,*’ explicitly mentioning the illustrations for the first and third items (“avec

illustrations”; “figures dans le texte”).** The mentioned 1280/1863 edition of the Arabian Nights is probably identical with the short Montakhab now in London. The 1282/1865 edition of Kalle va Demne was apparently later donated by the French scholar Jules Gantin to the Société Asiatique; it was again offered for sale in 1995 by

Smitskamp Oriental Antiquarium in Leiden.** The Paris orientalist librarian Leroux also arranged selling the libraries of other French scholars such as Jules Mohl (1800-1876),” famed for his edition and translation of Ferdousi’s Shah-ndme, and Charles Schefer (1820-1898), former head of the Institut nationale des langues et civilisations orientales (nowadays known as Langues’) in Paris. Leroux’s related sales catalogues contain valuable data on illustrated lithographed books, a few of which are otherwise unknown. While the catalogue of the Mohl library employs various expressions to indicate illustrations (“peinte”, “avec illustrations”, “avec vignettes”, “avec figures’), the catalogue of the Schefer library consistently states “(avec) fig[ures]”. The present whereabouts of items from the Mohl collection remains mysterious, but several items from the Schefer collection have been located by way of their ex bns in various European libraries, such as those in Paris (Langues’O), London (British Library), Leiden (Hosein-e Kord 1291/1874), Cambridge (fame‘ al-tamsil 1273/1856, Asrar alshahada 1274/1857) and Leipzig (Tufan al-boka’ 1280/1863). In general, while searching for illustrated Persian lithographed books in European public libraries, the present author has found that many copies, often some of the bestpreserved of all, originate from the personal libraries of orientalist scholars, as indicated by handwritten notes or glued-in ex brs plates: Items from the holdings of Aloys Sprenger (1813-1893) were bought by the Berlin library (now Staatsbibliothek Preussi>! Collection de Général Reza Khan. Ancien secrétaire du Shah de Perse de 1844 a 1891. Livres Arabes, Turcs & Persans [...]. Paris: E. Leroux 1894:nos. 17, 18, 19, 21, 23; cf. Lugt, F. 1964. Répertozre

des catalogues de ventes publiques intéressant lart ou la curiosité. Troisiéme période 1861-1900. La Haye: Martinus Nyhoff, p. 568, no. 52691. * Chauvin, V. 1892-1922. Bibliographie des ouvrages arabes ou relatifs aux arabes publiés dans l'Europe chrétienne de 1810 a 1885. Liége. vol. 2:30, no. *52 S$; vol. 2:46 sq.; vol. 4:23, no. *20 ZZ.

3 LBL 14807.a.3.(3.) = Edwards 1922:col. 129. ** Smitskamp Oriental Antiquarium. 1995. Catalogue Six Hundred. Leiden. no. 289. °° Catalogue de la Bibliotheque orientale de feu M. F[ules] Mohl. Membre de l'Institut [...]. Paris: Ernest Leroux 1876. © Catalogue de la Bibliotheque orientale de feu M. Charles Schefer. Membre de VInsitut [...]. Vente du Lundi 17 Avril aus Samedi 6 Mai [...]. Paris: Ernest Leroux, 1899.

6

INTRODUCTION

scher Kulturbesitz), including a rare illustrated copy (now apparently lost) of the 1261/1845 edition of

Nezami’s Khamse mentioned to contain “illuminations done with

the hand”:3’ a large amount of the Persian lithographed books of Edward G. Browne

(1862-1926) ended up in Cambridge University Library; the library of Jan Rypka (1886-1968) was donated to the Oriental Institute of the Czech Academy of Sciences in Prague; books formerly in the possession of the German scholars Martin Hartmann (1851-1919) and Albert Socin (1844-99) are now in the library of the Deutsche Morgenlandische Gesellschaft in Halle; the items of Qajar art collected by Philipp Walter Schulz (1864-1920), including some specimens of illustrated lithographed books, are preserved in the Leipzig Museum fiir Volkerkunde (Grassimuseum);** the copy of the 1265-67/ 1848-50 edition of Ferdousi’s Shah-name in the Bayerische Staatsbibhothek in Munich contains an ex Abris plate in the name of Steph[anus Marcus] (i.e. Etienne Marc) Quatremére (1782-1857); the library of the Italian persianist scholar Leone Caetani (1869-1935) is preserved in the National Academy in Rome; the library of the Austrian scholar Uto von Melzer (1881-1961) was bequeathed to the University of

Graz;*? and the Swiss scholar Cesar E. Dubler (1915-66) left most of his books to the Oriental Institute he had formerly headed at the University of Zurich in Switzerland. Even though the above enumeration is somewhat tiring, it can be justified as a promising approach toward identifying and locating other, as yet unknown, books. All of the above-mentioned libraries possess one or several items relevant for this study, and the present location of items from the libraries of persianist scholars of the nineteenth century is bound to yield further results. Ironically, quite often books in European libraries, and particularly those originating from a scholar’s library, are preserved in much better condition than items in Iranian libraries. While the Iranian copies often show signs of heavy use, copies in European libraries are usually complete without missing pages or other damage, their illustrations are usually not colored, and their bindings are in good shape. Some of the items examined in the course of the present study had probably been left untouched since their former owner’s death. The public hbraries whose holdings of illustrated Persian lithographed books have been examined for the present study are mentioned in the list preceding this chapter. These holdings vary both in the amount of items they comprise as well as in their quality of preservation. The following survey is intended to supply basic guidance. In Iran, the most important libraries are located in Teheran. The National Library (Ketabkhane-ye melli) holds a large amount of lithographed books, including several hundred illustrated items. An unpublished assessment prepared by Amir-Hosein Aqapur lists some 170 illustrated lithographed books in a total of 286 editions. Though the *” A Catalogue of the Bibliotheca Orientalis Sprengeriana. Giessen: Wilhelm Keller, 1857:82, no. 1473-75; * Rosen und Nachtigallen. Die 100-jhrige Iran-Sammlung des Leipzigers Philipp Walter Schulz. Leipzig: Museum fiir Vélkerkunde 2000. ** Rastegar, N., and W. Slaje. 1987. Uto von Melzer (1881-1961). Werk und Nachlaf eines ésterreichischen Iranisten. Wien.

INTRODUCTION

7

library’s name suggests comprehensive and exhaustive national holdings, the actual amount of books preserved from nineteenth-century production is, in fact, far from being complete. Unique specimens of illustrated lithographed books preserved in the Teheran National Library include the 1259/1843 edition of Maktabi’s Leili va Majnun and the specific copy of the 1264/1847 edition of Nezami’s Khamse discussed below. In the 1990s, the library was restructured. Its holdings in lithographed books have now been stacked apart from other printed books and a catalogue of them is currently being prepared. Since the various steps of reorganization over the past years have resulted in changing shelf-marks, the accuracy of the shelf-marks given here cannot be guaranteed. — Second in importance to the National Library is probably the Royal Library (Ketabkhane-ye saltanati) located in the Golestan Palace and at present still inaccessible to the public. The Royal Library is particularly interesting since it is supposed to contain the printed items originating from the library of Mirza ‘Ali-Qoli-Khan E‘tezad al-Saltane, whose manuscript collection shortly before his death in 1298/1880 was donated to the Sepahsalar Library (Ketabkhane-ye Sepahsalar, after the revolution renamed Ketabkhane-ye Mottahari). In view of its religious character as a research library linked to a mosque and madrasa, the latter library’s checked holdings of lithographed books do not contain any item of major interest for our subject. Rather, the available information suggests that the printed items from E‘tezad al-Saltane’s library might be preserved in the Royal Library. E‘tezad al-Saltane’s library should be particularly interesting since, besides being renowned as a bon-vivant and connoisseur of Iranian art and literature, this highly influential Qajar prince acted in various official positions as Iran’s first minister of science (from 1275/1858) and culture (from 1290/1874). For a long time he was responsible for supervising the publication activities of state-owned printing houses (from 1283/1866).*° — The two parliamentary libraries in Teheran (Ketabkhane-ye Majles [I]; Ketabkhane-ye Majles [II], formerly Ketabkhane-ye Majles-e Sana), though important for ther manuscript holdings, do not contain any otherwise inaccessible items of illustrated lithographed books. Considerably larger holdings are kept in the Central Library of Teheran University (Ketabkhaneye markazi-ye Daneshgah-e Tehran), comprising several dozen items from the early decades of lithography in Iran. A particularly interesting treasure is the unique copy of the 1269-91 edition of Sa‘di’s Kolleyat. The old books in this library are kept in separate stacks and, as in many other libraries, are stored according to format, ranging from A shelf-marks for volumes in large folio format to D shelf-marks for the smallest formats.

A card catalogue of shelf-marks is available. - Also on the same campus Is the library of the Faculty of Literature (Daneshkade-ye adabiyat) with considerable, though not necessarily unique holdings. As mentioned above, a limited survey of parts of its

#9 Amanat, A. 1998. “E‘tezad al-Saltane.” Encyclopaedia Iranica. vol. 8. Costa Mesa, Calif:: Mazda, pp. 669-672; Marzolph, U. 1999. “Die Autobiographie als Karrierebaustein. Die Abhandlung des Qagarenprinzen E‘tezad as-saltane tiber die ‘Falschen Propheten’. Arabic and Middle Eastern Literatures 2,2:189-202.

8

INTRODUCTION

lithographed holdings has been prepared by Akram Mas‘udi, who is currently compiling a complete catalogue.*! — Recent developments in Iran have resulted in the founda-

tion and promotion of prestigious research institutes,” some of which also possess

considerable holdings of lithographed books, partly from recent acquisitions or donations. These institutes include the Ketabkhane-ye melli-ye Malek (administratively linked to the Astan-e qods-e Rezavi in Mashhad), formerly situated in the Bazar-e bein al-haramein, but recently moved to luxurious new premises next to the Muze-ye Iran bastan; the Institute of the Dehkhoda encyclopedia (Mo’assase-ye Dehkhoda) in Tajrish; the Academy of Persian language and literature (Farhangestan-e zaban va adabiyat-e farsi); and the Great Islamic Encyclopedia (Da’erat al-ma‘aref-e bozorg-e eslami) that recently moved to extensive new locations in uptown Niyavaran. The latter library, besides the library of the Golestan Palace, is the only one whose holdings have not been investigated. Among libraries in other Iranian cities, those in Qom, Tabriz, and Mashhad were checked. The Mar‘ashi library in Qom is internationally renowned for its extensive manuscript holdings. Originating as the personal library of an Islamic scholar, over the past few decades it has been developed into a major national institute of religious learning and research; its holdings in lithographed books are almost exclusively concerned with traditional religious topics. — The Tabriz National Library, contrary to what might be expected given the rank of Tabriz as a major location for the early history of printing in Iran, does not possess any major holdings in lithographed books. A first assessment kindly prepared by Mehri Bagheri lists a total of less than 300 items about half of which are dated later than the year*1300/1882. A particularly important item in Tabriz is its specific copy of the 1261/1845 Anvar-e Sohal. —' The central library of the Mashhad sanctuary (Ketabkhane-ye markazi-ye Astan-e qods-e Rezavi) is the only library worldwide whose special holdings in illustrated lithographed books are currently being catalogued. The thesis the librarian Mohammad-Reza Fazel Hashemi has compiled includes a general introduction and analysis while supplying detailed bibliographical references for a total of 237 items.*? An extended version of this thesis is to be published. ‘The holdings of the Mashhad library originate to a large extent from pious donations (vag/). This process has resulted in the presence of a large number of younger items, some of which are in an only fair state of preservation, due to previous heavy use. In addition, Mashhad holds some exquisite specimens of the early printed editions of the Tufan al-boka’ containing lithographed illustrations as well as the rare 1320-24/1902-06 Mashhad edition of the Bahr al-fava’ed. Next to Iran, the most extensive holdings of Persian lithographed books exist in Russia, particularly in the various St. Petersburg libraries. The collections in the St.

*! ” 1994. *

Mas‘udi 1995. Haag-Higuchi, R. 1994. Geisteswissenschafiliche Lehr- und Forschungsinstitutionen in Iran. Stand Hamburg: Deutsches Orient-Institut. Fazel Hashemi 1998.

INTRODUCTION

9

Petersburg [formerly Leningrad] Branch of the Russian [formerly Soviet] Academy of Sciences and those in the Gorkiy-Library of St. Petersburg University have been presented by Olimpiada P. Shcheglova.** Shcheglova’s exemplary catalogues constitute the most important published research instruments for studies in Persian lithographed books. Besides giving detailed descriptions of the items concerned, they also contain extensive annotation, including references to other published collections. Moreover, she outlines the historical growth of both libraries in the relevant introductions. While the holdings of the Gorkiy-Libary in general are mostly of a more recent date, the library of the Academy of Sciences prides itself on holding a considerable amount of old books. A rough estimate of illustrated books in the latter library yields some 240 examples as against a total of 1923 items. Some 70 items were published in the period predating 1300/1882, and 28 items belong to the first decade (1259/1843-1269/1852) of illustrated hthographed books in Iran. In England, the British Library (formerly British Museum) possesses an important collection of Persian books which has now also integrated the holdings of the former India Office Library. Both collections were catalogued in the first half of the twentieth century by Edward Edwards® and ArthurJ.Arberry® respectively. While the original India Office Library holdings are almost exclusively of Indian origin (and thus by definition irrelevant to the present study), the general holdings include a large number of items representing the full range of Persian lithographic production in both date and quality. Basil W. Robinson in an appendix to his 1979 presentation of the 1264/1847 edition of the Ahamse-ye Nezam (in his private possession) has supphed a Hand-List of Persian Illustrated Books in the British Library.*’ In this list, methodically extracted from Edwards’ catalogue with an ensuing detailed examination of the relevant items, he surveys altogether 64 illustrated lithographed books, about two-thirds of which predate the year 1300/1882. While constituting a substantial contribution to the field, Robinson’s list is by no means complete, a large number of items having escaped the author’s attention. Moreover, the art historian’s tentative evaluations as to the authorship of the unsigned illustrations (“probably/possibly/perhaps by ...”; “in the style of ...”; “reminiscent of ...”) must be treated with caution. As for other London libraries, only one relevant item could be located in the library of the School of Oriental and African Studies (the 1307/1889 edition of Alf lea va lela), and Francois de Blois kindly inform** Shcheglova, O.P. 1975. Katalog litografirovannykh knig na persidskom jazpke v sobranii Leningradskogo otdelentya Instituta vostokovedeniya AN SSR. vol. 1-2. Moscow; ead. 1989a. Katalog litografirovannykh knig na persidskom jazyke v sobranu vostochnogo otdela nauchnoy bibhioteh im. A. M. Gorkogo Leningradskogo gosudarstvennogo unwwersiteta. Moscow. *® Edwards, E. 1922. A Catalogue of the Persian Printed Books in the British Museum. London, British Museum. *© Arberry, A.J. 1937. Catalogue ofthe Library ofthe India Office. vol. 2,6: Persian Books. London. *7 Robinson, B.W. 1979. “The Teheran Nizami of 1848 & other Qajar lithographed books.” Islam in the Balkans/Persian Art and Culture in the 18th and 19th Centunes. ed.J.M. Scarce. Edinburgh, pp. 61-74.

INTRODUCTION

10

ed me about a small collection of illustrated popular booklets of a later date in the library of the persianist scholar C. A. Storey, now housed in the library of the Royal Asiatic Society. — Apart from London, the only major collection of Persian lithographed books in the British Isles is kept in the Cambridge University Library, most of the items originating from Edward G. Browne’s personal library. Books in Cambridge are often of a later date, while a notable number of the earlier items originates from the sales of Charles Schefer’s library in 1899. As for rare items, there are two copies of the 1261/1845 editio princeps of Nezami’s Khamse,

one ‘of which, to be discussed later,

contains a number of illustrations in watercolor. British Libraries checked in situ or by way of inquiry that appear not to hold any promising material include the Bodleian Library in Oxford (exclusively books of Indian origin) and the John Ryland’s Library in Manchester. Nor does the Chester Beatty Library in Dublin seem to possess any substantial amounts of the books in question. In France, the library of the Institut nationale des langues et civilisations orientales in Paris (popularly known as Langues’O) holds a considerable amount of illustrated Persian lithographed books, comprising several dozen of the oldest and best-preserved examples. A short introduction to the range of books collected was presented in 1960 by Henri Massé in an essay deemed so original by his Iranian colleagues as to be

translated and published in Persian. As might have been expected, a large number of books originate from the library of Charles Schefer, former head of the institution; the contemporary inventory makes it clear that, contrary to Schefer’s manuscript collection, no effort was made to acquire his collection of Persian printed and lithographed

books as a whole. Other major sources of acquisition were the library of the French scholar Jules Gantin and items originating from the “legs Garnier”. The alphabetical catalogue of this library is extremely hard to use, due to the outdated and unpredictable system of transliteration. For nineteenth century holdings, a classified card catalogue exists. — As for other Paris libraries, attempts to locate relevant items in the Institut des études iraniennes at the Sorbonne have so far proved unsuccessful. The Bibliothéque Nationale is known to hold a well-preserved copy of the 1270/1853 edition of Nezami’s Khamse.

In Germany, small but significant holdings of illustrated Persian lithographed books are located in Cologne (Schia-Bibliothek), Frankfurt (Orientalisches Seminar der Universitat), Gotha (Forschungs- und Landesbibliothek SchloB Friedenstein),* Halle (Bibhothek der Deutschen Morgenlandischen Gesellschaft), Leipzig (Universitatsbibliothek Albertina; Museum fir Vélkerkunde), Munich (Bayerische Staatsbibliothek), and Tubingen (Universitatsbibliothek). Only one library, however, holds substantial “ Massé, H. 1960. “L’imagerie populaire de V’Iran.” Arts asiatiques 7:163-178;

1353/1974.

12,138:52-61.

“Naqshha-ye

‘ammiuyane-ye

Iran.”

[transl

N. Nafisi]. Honar

id.

va mardom

* Orientalische Buchkunst in Gotha. Ausstellung zum 350jihrigen Fubildum der Forschungs- und Landeshibliothek Gotha. Spiegelsaal 11. September 1997 bis 14. Dezember 1997. Gotha: Forschungs- und Landesbibliothek 1997.

INTRODUCTION

1]

amounts of relevant items. The nineteenth-century holdings in the then Royal Library (now Staatsbibliothek Preussischer Kulturbesitz Berlin) have been presented in a short catalogue prepared by Moritz Steinschneider in 1884. Stemschneider was right in mentioning that only a few of the books listed in his catalogue were known at that time to orientalist scholars (by way of Zenker’s bibliography), and he takes pride in pointing out that his brary now counts as belonging “to the richer ones” insofar as holdings in Oriental printed books are concerned.” The items catalogued by Steinschneider were acquired in [ran by Julius Freiherr von Minutoli (1805-1860). With the merging of the Eastern and Western departments of the Berlin Staatsbibliothek effected in the 1990s, it has been possible to locate most of the items listed by Stemschneider, only a few of which were apparently lost in the war. In Berlin, both the relevant card catalogue as well as a manuscript classified catalogue are preserved. It is particularly interesting to note the repeated handwritten remarks by librarians who erroneously took the lithographic illustrations to be either wood engravings (Holzschnitte) or copper etchings (Kupferstiche).?’ The Berlin copy (now lost) of the 1261/1845 edition of Nezdmi’s Khamse (shelf-mark Lib. impr. rari 299), obviously originating from the library of Aloys Sprenger, is noted as containing illustrations ‘done by hand’ (“Mit vielen durch die Hand illuminierten Bildern”). In other European libraries, | have located small collections of relevant items in Zurich (Orientalisches Seminar der Universitat), Graz (Universitatsbibliothek),? Rome (Accademia Nazionale dei Lincei), Prague (Akademie véd Ceske Republiky, Orientalni ustav), Leiden (Universiteitsbiblioteek; stock collection at Smitskamp Oriental Antiquarium), and Istanbul (Istanbul Universitesi Kiitiiphanesi).°’ Libraries in the United States of America have so far not been investigated in detail, but in sew research could be carried out in New York. While no illustrated lithographed books were located in the Butler Library at Columbia University, the New York Public Library holds a few interesting items, including a copy of the 1269-70/1852-53 edition of Nezami’s Khamse. Information kindly supplied by colleagues at Princeton University and the University of California in Los Angeles suggest that a number of relevant items are to be found in these libraries. Other holdings, such as the Library of Congress or Harvard’s Wiedener Library, might well supply additional data.

°° Steinschneider, M. 1884. “Neupersische Drucke der K. Bibliothek in Berlin.” Centralblatt fiir Bibliothekswesen 1:270-275, 315-322, at 270: “... und die Kgl. Bibhothek in Bezug auf orientalische Drucke sich jetzt zu den reicheren zahlen darf.” *! see, e.g., ZV 1235 “Hamla[-i Haidari]. Teheran 1249 [recte 1269/1852] [...] Mit Holzschnitten”; Zv 1415/80 “Jami. Yusuf und Zuleikha [...] zahlreiche Illustrationen, Kupferstich”; Zv 1606 “Nizami, Khamse [...] 1264 (1848) [...] mit sauber[e]n Holzschn[itten]

an jedem Rande u[nd] grésseren Platten [...].”; Zv 2214 [Tufan al-boka| 1269/1852 “mit eingedr[uckten] Kupfern”; Zv 2220 “Kitab-i-Schirdye. [1280/1863] Mit Kupfern.” °? Rastegar/Slaje 1987.

°° Karatay, F.E. 1949. Istanbul Universitesi Kiitiiphanest Farsga Basmalar Katalogu. Istanbul.

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12a

1.2. The Printed Book in Iran

The history of printing in Iran, as in fact in most of the Near and Middle Eastern countries, is a relatively short one. ‘The main stages of the introduction of printing to Iran are well known, so it may suffice for the present purpose to recapitulate the basic

facts.°* According to the available data, printing as a continuous practice of book

production was established in Iran only during the second decade of the nineteenth century. Several earlier ventures in the art of printing in Iran are known, but these were short-lived and remained without significant consequences. These ventures include the printing of paper money from engraved wooden blocks under the Il-Khanid ruler Gaykhatu Khan in 693/1293 and the activities of the Armenian press in Jolfa in the seventeenth century. As late as 1815, Sir John Malcolm wrote that “the art of

printing is unknown in Persia’”.”’ Shortly afterwards, the first modern printing press was established in Tabriz under the patronage of the crown prince ‘Abbas Mirza. The technique then employed for printing was typography, 1. e. the use of movable types cast in lead. The first book produced by this technique was a copy of the Resdale-ye Fehadiye by ‘Isa b. Hasan Qa’em-Maqam Farahani published in 1233/1817 (and again in 1234/1818). No attempt has yet been made to discuss what constitutes incunabula in the Iranian context, even though the available data suggest a fairly obvious definition. Recent research by the Iranian bibliographer Shahla Babazade has corroborated and refined the commonly agreed notion that, for an extended period in the second half of the nineteenth century, printing from movable type was completely abandoned in Iran in favor of lithography.” In her study, Babazade lists about two dozen books printed by way of typography in various establishments in Tabriz, Teheran, and Esfahan between 1233/1817 and 1269/1852. After this period, Babazade records no item printed from movable type until 1291/1874, after which date typography, for a second period, again became a current practice. The last item mentioned by Babazade for the first period is the illustrated edition of the Tufan al-boka’ byMohammad Ebrahim Jouhari printed at the Matba‘e-ye ‘Abd al-Karim and published in 1269/1852.°’ Though the basic lineaments of this process of suspension are clear enough, the exact duration of the interlude remains open to discussion. The dating of the last item, before the disruption and temporary abandonment of printing from movable type, is of particular interest for the early history of printing in Iran, since the first period of typography offers itself as a convincing definition of Persian incunabula. Since this fact, moreover, is closely related

** Floor, W. 1990. “Cap.” Encyclopedia Iranica. Costa Mesa, Calif.: Mazda. vol. 4:760-764;

id. 1991. “Matba‘a. 3. In Persia.” Encyclopedia ofIslam, 2nd edition, vol. 6, Leiden: Brill, pp. 803-804.

** Malcolm,J.1815. The History ofPersia. London. vol. 2:582 (quoted apud Floor 1990:761). °° Babazade, Sh. 1378/1999. Tarikh-e chap dar Iran. Teheran: Tahuri. *’ Babazade 1999:106 sqq., no. 23.

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13

to the present topic of lithographed book production, it needs to be discussed in some more detail. Babazade’s research is based upon the holdings in the Teheran National Library. This library, while undoubtedly one of the major repositories of Persian books worldwide, by no means holds a complete stock of books produced in Iran, a fact mentioned above in relation to its holdings of lithographed books. Already in 1979, the Russian scholar Olimpiada Shcheglova came to conclusions significantly different from Babazade’s on the basis of the data available in Russian libraries, specifically those in various St. Petersburg institutions. In an appendix to her study of the history of lithographic printing in Iran, Shcheglova listed close to 40 books printed from movable type between 1233/1817 and 1271/1854 in Teheran, Tabriz, and Esfahan.”* Apart from a copy of Mohammad-Taqi Baraghani’s Majales al-mottagin printed by the chap-e Mo‘tamedi in 1270/1853 not mentioned by Babazade, the final item which Shcheglova mentions in addition to Babazade’s data is a copy of the Qoran printed by ‘Abd alKarim in 1271/1855. Given the deficient state of present knowledge about the early history of printing in Iran as well as the fragmentary nature of holdings preserved in public libraries, new finds of other yet unknown books of the period are bound to come to light. ‘Two such new finds are the folio-size copies of Jouhari’s Tufan al-boka’ printed by ‘Abd al-Karim in the hybrid technique of typography plus single-sheet lithographic

illustration” in 1271/1854 and 1272/1855, respectively. Their discovery further extends the period of Persian incunabula up to 1272/1855, while at the same time diminishing the intermediary period in which typography was discontinued.

1.3. The Lithographed Book in Iran In the intermediary period, lithography remained the sole way of printing practiced in Iran. Lithography as a new technique of planographic printing had been invented by Alois Senefelder shortly before the end of the eighteenth century.®! It had been in°8 Shcheglova 1979:208-211. °° Babazade 1999:106 evaluates the lithographic illustrations in the 1269/1852 copy ofthe same work (Marzolph, U. 1997: “Mirza ‘Ah-Qoli Xu’: Master of lithograph illustration.” Annali (Istituto Orientale di Napoli) 57,1—2:183-202 + plates I-XV: no. XX) as done by engraving (geravor). °° Marzolph 1997:no. XXIV sq. ®! Senefelder, A. 1998. The Invention ofLithography. Translated from the original German by J. W. Muller. Pittsburgh: GATF Press; Weber, W. 1961-64. Saxa loguuntur. Steine reden. Geschichte der Lithographie. vol. 1-2. vol. 1 Heidelberg, Berlin: Impuls Verlag Heinz Moos, vol. 2 Munich: Heinz Moos; id. 1996. A History of Lithography. New York, Toronto, London: Thames and Hudson, McGraw-Hill; Porzio, D. 1982. Lithography. 200 Years ofArt, History and Technique. New York: Harry N. Abrahams; Twyman, M. 1998. The British Library Guide to Printing: History and Techniques. London: The British Library, pp. 47-50.

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INTRODUCTION

troduced to Iran by way of Russia and had come to be known in Iranian cities from about 1240/1824. The first item actually known to have been produced” is a Qoran printed at the Dar al- Taba‘e-ye Dar al-Saltane-ye Tabriz in 1248-49/ 1832-33. After this date, and for a period of two decades, typography and lithography were used more or less simultaneously, though lithography soon gained the upper hand and eventually superseded the former technique in the intermediary period. The overwhelming success in Iran of lithography as against printing from movable type was fostered by various circumstances, best characterized as socio-economic. First and foremost comes the economic factor. Printing from movable type involved, apart from a high level of expertise, the acquisition and maintenance of extensive and sophisticated equipment, which meant not only a considerable initial expense but also a high investment risk, since expert assistance for the technical problems associated with the machinery was difficult to obtain. In contrast, lithography, besides paper and ink, required merely stone and acid. The ready availability of these essentials for lithographic printing made the reproduction of identical copies of any given original . possible at comparatively low cost. Another reason for the success of lithography in Iran relates to the socio-cultural nature of the written text. The main achievement of Johannes Gutenberg in the early fifteenth century had actually consisted in the invention of a printing technique with letters cast in adjustable molds. Gutenberg had aimed at an easy and inexpensive way of multiplying texts, inexpensive at least in comparison to previous and contemporary manuscript production. Not surprisingly, the result he eventually produced was a direct imitation of the late medieval European practice of book production. Already in medieval manuscripts, the Latin characters used for the various European languages had been written separately from each other and had thus readily lent themselves to being reproduced as separate types. That practice was, however, fundamentally unsuited to the Arabic script employed in Iran. The standard calligraphic style offering itself as a model for splitting up Arabic words into single types for printing was naskh, thanks to its regular flow and the predictable repetition of specific forms of characters in their various positions; naskh had in fact served as the preferred calligraphic style for modeling types since the early days of typography in the Arabic script in the sixteenth century.”* The calligraphic style dominant in Iran was, however, not naskh but nasta‘lq, a style involving intricate and variegated forms of writing. When set against the highly esteemed and aesthetically prestigious nasta‘lig, the naskh characters produced from *? A lithographic press in Shiraz in 1245/1829 as quoted by Floor 1990:762 did not exist.

Floor’s source Mahbubi Ardakani, H. 1354/1975.

Tarikh-e mo’assasat-e tamaddoni-ye jadid dar

Tran. vol. 1. Teheran:217 clearly states the year 1254/1838.

*° Golpayegani, H. 1378/1999. Tarikh-i chap va chapkhana dar Iran (1050 qaman ta 1320

shamsi). ‘Veheran: Nashr-e Golshan:14; Fazel Hashemi 1998:80 gives the year 1250/1834. ** Endress, G. 1982. “Die Anfinge der arabischen Typographie und die Ablésung der Handschrift durch den Buchdruck.” In Grundrif der Arabischen Philologie. vol. 1: Sprachwissenschaft. ed. W. Fischer. Wiesbaden: Dr. Ludwig Reichert, pp. 291-296.

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15

movable type were bound to be regarded with disfavor by an Iranian audience and to be seen as unappealingly crude and unrefined. Several testimonies contemporary with the early history of printing in Iran make a point of how Persians emphasized the beauty of calligraphy as a specific form of artistic articulation. R. A. Binning in his travel account published in 1857 mentioned that “printing in types is not relished by the Persians, the characters being necessarily stiff and uncouth, and very displeasing to

an eye accustomed to the flowing hand”. The reformer Mirza Fath-‘Ali Akhundzade (Akhundoy; 1812-78) voiced general concern about the Persians’ reluctance to accept the merit of a printed text as a convenient means of conveying information in a read-

able and easily accessible way.°? When one weighs these observations in the light of the comparison made above to the situation in late medieval Europe, it becomes clear that in Iran, lithography offered itself as the logical continuation of manuscript production. This evaluation is, moreover, substantiated by what one may assume was the determined opposition of professional scribes to the technique of typography. While printing from movable type must have been perceived by them to gravely menace the eminent position of their traditional profession, lithography allowed for a smooth continuation of previous modes of book production while maintaining aesthetic standards and ensuring employment for the artists involved.” Lithography even contributed positively to keeping the tradition of calligraphy alive, for it made written texts more accessible, thereby widening the circle of readership and stimulating demand. At this point it is useful to discuss the technique by which the master copies used for hthographic reproduction were prepared. Even though it 1s possible in lithography to apply ink directly to the stone surface, any original prepared in this way would result in printing a reverse image. In order to produce readable images, one would either have to practice reverse writing, such as the inventor of lithography had himself done in the early stages of his invention, or one would have to go through two stages of printing, implying the production of a negative master copy from a positive original on stone. The former suggestion was out of the question for Persian calligraphy, and the latter one was most probably considered too expensive, since it would intensify the consumption of stone or at least would involve additional wear and tear to the stone surface in the process of printing, and thus would increase costs. In view of these conditions, the best solution for Iranian scribes, as well as for illuminators and illustrators, was the process described by Senefelder as transfer.** Rather than working directly on the stone surface, this process involved working with a special transfer ink on a specially prepared paper. The paper copy was then used to print a single reverse master copy onto the ® Binning, R.A.

1857.

Two Years’ Travel. vol. 1. London, p. 312; quoted apud Floor

1990:762; id. 1991:803 sq.

°° Akhundoy, M.F. 1962. Lzbrannye filosofskie proizvedenya. Moscow, p. 46; quoted apud Shcheglova 1979:206, note 51. °’ Rouzati, M.‘A. 1359/1980. “Ketabha-ye chapi va kh’osh-nevisan-e Tabriz.” Ayande C95 =110;

68 Senefelder 1998:190-193.

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INTRODUCTION

lithographic stone from which ~ after specified chemical treatment — the printing of multiple copies on paper was achieved.” In the process, the original paper copy inevitably was destroyed. In an exceptional illustration inserted after the Haji peikar (fol. 215a) in the 1264/1847 edition of Nezami’s Khamse, the artist Mirza ‘Ali-Qoli Khu’ has pictured in detail the various stages in the preparation of a lithographed book (fig. 4). These are (1) the process of distilling the nitric acid needed to prepare the lithographic stone for printing (lower right); (2) the grinding of the dry substance used to prepare ink (lower left); (3) the smoothing and polishing of the lithographic stone’s edges (lower left middle); (4) the leveling and polishing of the lithographic stone’s surface (upper left middle); (5) the carrying of the lithographic stone to be prepared for printing (upper left); (6) the drawing of frames and auxiliary lines (upper right); (7) the actual process of printing (lower center). The scene in the upper margin probably contains a self-portrait. The senior person smoking a water-pipe while watching the middle-aged man’s technical preparations might represent the mature artist. On the other hand, the senior person might also represent the patron, in which case the artist has probably pictured himself as the middle-aged person drawing the lines. At the end of the 1267—68/1850-51 edition of Sa‘di’s Kolleyat, the same Mirza ‘AliQoli Khu’i has given a realistic portrayal of a scribe in the Qayjar period (fig. 5). The portrait depicts the scribe Mostafa-Qoli, son of the famous calligrapher MohammadHadi Soltan Kajuri. Mostafa-Qoli’s main profession is given as ‘attar, a denomination

that can best be rendered as a dealer in drugs, perfumes, and spices. Obviously, copying books was a task he undertook parallel to selling goods in his store — which is pictured here in great detail, furnished with various drawers and cupboards full of pots and bottles. Seated in a typical position, the scribe holds the pen (galam) in his right hand, while before him on the desk-like structure is a scale (tarazu) and what appears to be a metal inkstand. The man on the right carrying a load of books of various sizes is probably a customer or a servant acting on a customer’s behalf; presumably he is just collecting items that have been copied, since in his right hand he holds a coin as

payment. The ink which scribes had to use for writing on lithographic transfer paper was made up of ingredients different from those normally used, and its viscidity apparently caused some inconvenience. Lithographed books follow the practice in manuscripts in that they often end with a scribe’s invocation beseeching pardon for any faults and imploring readers to remember the scribe’s effort by including him in their prayers: “Immersed in God’s mercy may be the one who remembers the scribe with praise of God (on his behalf)” (gharig-e rahmat-e yazdan kasi bad, ke kateb-ra be al-hamdi konad shad; Anvar-e Soheih 1267/1850). “I wrote this as a souvenir so that after many days by this means the dear ones [1. e. my readers] will remember me’ (be-yadegar neveshtam ke bad az ayyam, bedin vasile ‘azizan konand mara yad; Nush-Afarin 1273/1856). Also analogous to e Safaiyan and Ghaffari 1995—96:35.

INTRODUCTION

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traditional practice is the expression of a general grievance about the bad state of health caused by the effort of writing. One scribe completed his book “with broken pen and exhausted hand” (galam-shekaste va dast dar-ham baste; Asrar al-shahada 1268/1851), another complained about his “afflicted state” (halat-e panshan; book 5 of Eskandar-name 1283-84/ 1866-67), yet another finished writing with a “vexed brain” (dar nehayat-e sukhtegi-ye damagh tahnr shod; Kolleyat-e Sa‘di 1267-68/1850-51). Lithographed books moreover often contain passages of personal concern in which the scribes particularly lament the trouble they had encountered as a result of the unfamiliar quality of the ink. Mostafa-Qoli in the above-mentioned Kolleyat-e Sadi complains that “writing with lithographic ink (morakkab-e basme) is extremely difficult, since it is not possible to write correct and in straight lines as intended” (khatt dorost va saf be-ekhteyar neveshte nemashavad). Mirza Aqa b. Mirza Esma‘ll Shirazi, in the colophon of the 1271/1854 edition of Qa’ani’s Panshan-name, likened lithographic ink to wax (cha@p-ra morakkabi-st chun mum). Moreover, he obviously also found the quality of transfer paper highly disagreeable, since he likened it to the leaves of the Zaqqum, an infernal tree mentioned in the Qoran (Q 37, 62-64), and concluded that, owing to these conditions, it was impossible to practice the art of calligraphy in a suitable manner (le-haza nokat khatt-ra chenanke shayad natavan be-kar bord). As late as 1318/1900, the anonymous scribe of an edition of the Rostam-name put his lament into verse, stating that he could not fall asleep before the book was finished, due to the strain caused by the fact that lithographic ink made water like wax (az-in morakkab-e tab% chu mum gardad ab/na khab raft be-cheshm va tamam gasht ketab). No attempt has been made in the present study to investigate lithographed books in

terms of ways of production, publishers and/or editors, mechanisms of sales and pricing, customers, readership and the like. A study on these aspects of the early history of printing in Iran is badly needed in order to better understand the motivation, dynamics and conflicting forces in the intellectual history of Iran in the nineteenth century. Besides the information available in published catalogues, a source of prime importance in this respect is constituted by the contemporary journal Ruzname-ye vaqaye-e ettefagiye. From its 27th issue, published on Shavval 9, 1267 (corresponding to August 7, 1851), the journal often contains a final passage advertising books printed in Iran for sale at the very same printer’s who produced the journal itself, Hajji ‘Abd alMohammad Ostad in Teheran.” The second announcement of this character, published in the issue dated Shavwval 16, 1267 (corresponding to August 14, 1851), advertises the Shah-name, printed at the same establishment, at a price of five tuman. Apparently, the book did not sell too well, since on Rajab 2, 1268 (corresponding to April 22, 1852), its price was lowered to four twman and a half.’' A similar development took place for other items such as the Khamse-ye Nezam (apparently the edition of

see also Golpayegani 1999:39-41. ”' Quoted from the reprint edition Teheran 1373/1994, pp. 134, 140, 358. I am grateful to Javad Safinezhad for pointing out this source to me. 70

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INTRODUCTION

1264/1847), whose price in the same period was also lowered by ten percent from an original price of one twmdn to 9,000 hezar). Unfortunately, the lists neither mention the date of publication nor any other specifics for the items quoted. Contemporary lists of prices for the major items of staple food (rice, wheat, sugar etc.) often contained in the same journal allow the conclusion that books in relation to food items were quite expensive.

1.4. Illumination and Illustration in Early Persian Lithographed Books Like fifteenth-century incunabula in Europe, both the formal conception and the layout of lithographed books in Iran took their inspiration directly from manuscript tradition. Apart from lacking a title page (this was only to develop later), lithographed books were at first mere reproductions of text without adornments of any kind. Publishers took about a decade to develop the further technical possibilities of lithography. It is not clear whether improvements in the method and style of lithographic book production were developed gradually or whether they took place more or less in a single step. Obviously, publishers must have realized at a certain point the potential lithography had, for in addition to the reproduction of text, it became a successor to manuscript production insofar as illumination and illustration were concerned. Books in Iran, as elsewhere, over and above their value as documents of knowledge and learning, were often prized for their aesthetic value. In addition to beautiful calligraphy, the high esteem in which books were held found its expression in intricate illumination as well as illustration. Thus, it appears a matter of course that sooner or later publishers would explore the possibility of having scribes, illuminators, and illustrators cooperate in the production of lithographed books as they were doing in manuscripts. The adornment of a book could comprise lines framing and structuring the text, illuminated chapter headings, and illustrations. Even though in lithographed books, as in manuscript production, any of these elements might have been produced by a specific group of collaborators, the technical problems they implied were similar. Presumably the order of applying calligraphy, illumination, and illustration to lithographic transfer paper was more or less identical with that of previous manuscript practice.” There are no written testimonies elucidating whether illuminators or illustrators met with difficulties similar to those experienced by the scribes, but the mere fact that neither illumination nor illustration of books were practiced in the early years of lithography in Iran perhaps speaks for itself. Early lithographed editions of books whose later editions were regularly illustrated are still devoid of illustrations. To name but a few, the Persian translation of the Arabian Nights, completed in 1259/1843, has an ” Porter, Y. 1992. Peinture et arts du Livre. Paris, Teheran: Institut Frangais de Recherche en Iran; M@el Harawi, N. 1372/1993. Ketab-ara’i dar tamaddon-e eslami. Mamu‘e-ye rasa’el dar zamineye kh’osh-nevisi, morakkab-sazi, kaghaz-gari, tazhib va tajlid, be-enzemam-e Sarhang-e vazhegan-e nezam-e ketab-ara. Mashhad: Astan-e qods-e Rezavi; Hashemi Dehkordi 1983; Kuklan 1996-97.

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editio princeps achieved in 1261/1845 which contains only the text, whilst its first illustrated edition was published in 1272/1855, and most later editions contain illustrations. The text of Sa‘di’s Kolleyat had been published numerous times in lithographed (e. g., 1257/1841, 1262-64/1845—47) and typographical editions before the publisher of the edition of 1267—68/1850-51 proudly announced his edition to be the first complete (kdmel) and illustrated (mosavvar) one. Another example is the 1263/1846 edition of Mohammad Mahdi Khan’s Tankh-e Naden. The successors to the early editions of Jouhari’s Tufan al-boka’, such as those done in typography in 1260/1843 and 1263/1846, constitute a particular case that needs to be discussed separately. The first-ever illustrated Persian lithographed book, according to the pioneer studies of Sa‘id Nafisi, is a copy of Maktabi’s Leili va Majnun published in 1259/1843,” of which the only copy presently known is preserved in the Teheran National Library. The four illustrations it contains (fig. 6) are stiff and crude, documenting the fact that the artist who prepared them was either inexperienced or found it difficult to produce adequate results when having to work with lithographic ink. Besides the illustrations, the booklet contains no other adornment, whether in the form of illumination or of lines framing the text. The artist of this edition remains unknown. Yusof Milani, the person signing as ragem — a term later often used to denote-an artist — was obviously the scribe.

An interesting case in point for the early development of illustration in hthographed books in Iran is the 1261/1845 edition of Nezami’s Khamse. This edition, the first one

to be produced in Iran, constitutes a particularly revealing intermediary between the traditional practice of manuscript production and contemporary developments in hthographic printing. The edition may adequately be termed de luxe, since all of the copies examined in situ are either furnished with exquisite leather covers or with lavishly decorated lacquer bindings. The great care invested in the book’s external appearance leads one to expect an exceptionally careful execution of its contents. This expectation 1s further aroused by the fact that one of the copies already mentioned — the copy formerly belonging to the library of Aloys Sprenger, later bought by the Berlin K6nigliche Bibliothek and apparently lost in the war — is explicitly mentioned to contain illustrations “done with the hand”.’* When opening the book, however, one immediately notices that, while the text of the work was diligently executed, instead of illustrations there are only empty frames. At first sight, these empty frames — nineteen in all — come as a surprise when one recalls the standard set of illustrations included in the lithographic editions of the Khamse from the edition of 1264/1847 onwards. The lack of illustrations in the 1261/1845 edition has previously been explained by the publisher’s inability to hire a competent artist during the early years of lithography in Iran.’”” The examination of additional copies, however, leads to a different evaluation.

3 Nafisil 945-46; id. 1958. ™* See above, note 37.

” Marzolph 2000:334.

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While in the majority of copies examined the frames remain empty, others strongly suggest that the space was purposely left vacant to be filled with illustrations later. The Berlin copy prepared in this way is not available, but one out of the two copies preserved in Cambridge (CUL S 828.b.84. 1) contains colorful illustrations for the thirteen frames included in that particular incomplete copy.”° The illustrations are executed in a rather simple style. While employing shiny colors, the artist has supplied the figures with strong outlines in black in a way somewhat reminiscent of painting on glass. ‘The moderate care invested is further documented by the fact that one of the illustrations (fol. 128a: Majnun meets Leili) is executed upside down in relation to the printed text. At any rate, both the lost Berlin copy as well as the copy preserved in Cambridge testify to the intermediary state of the edition under consideration. Obviously, the publisher had intended to leave it up to his customers to have an artist of their liking execute the illustrations into the lithographed book. If this evaluation proves to be correct, the implied attitude would correspond to the common practice of selling books without a binding. It was intentionally left to the purchaser to supply a binding which corresponded to both his purse and his liking, the available options ranging from simple cardboard or cardboard decorated with lithographed ornaments to leather covers, bindings in velvet and those lavishly decorated by lacquer paintings. The intermediary state of the edition under consideration is also demonstrated by the supplementary colored lines framing and structuring the text; furthermore, the calligraphy of chapter headings is surrounded by gilded frames. Similar adornments of early lithographed books might be quite frequent, but have not been investigated for the present study. A chance finding is the Cambridge copy of the 1257/1841 edition Sa‘di’s Kolleyat (GUL Moh. 654.b.15). While the printed part of the book does not even comprise the later standard chapter heading (onvdn, sar-louhe), the text pages are framed by red and blue lines, and the paper is adorned with minute gold spotting. In terms of historical development, the intermediary stage represented by such editions again recalls the early history of printing in Europe. In the case of incunabula such as the famous Gutenberg Bible it is well known that only the basic text was printed. It was left up to individual customers to have their copy supplied with large initials as well as having it rubricated and illuminated according to their liking. The Gottingen University Library even possesses a pattern book (‘Musterbuch’) obviously employed in the decoration of the exquisite parchment copy of Gutenberg’s B 42 now also belonging to its holdings.’” The 1261/1845 edition of Nezami’s Khamse remains a singular case. No other lithographed item printed with a similar agenda in mind is known to date. The norm ’° The illustrations executed comprise five for Khosrou and Shirin, four for Leili and Majnun, and three for the Eskandar-name. The Haft peikar, containing seven frames, is missing in this

copy. i Fiissel, 5. 2000. “Gutenberg und seine Wirkung.” In Gutenberg und seine Wirkung. ed. E. Mittler. Géttingen, pp. 1-141, at 13-20; see also the ‘Gutenberg digital’ project available both as CD-ROM

and via the internet.

INTRODUCTION

21

seems to have been for publishers to experiment continually with various techniques to produce illustrated books in print. The 1261/1845 edition of the Rouzat al-mojahedin (commonly known as Mokhtar-name) is a unique example of how different techniques were combined in the early days of lithography in Iran.” The book is printed from movable type and contains eight illustrations (figs. 7-8). They are executed in a style distinctively different from contemporary and later lithographic illustration and most probably result from wood- engravings (gravor-e chubi).”” If this evaluation holds true, this would constitute a unique case, since no other printed book containing illustrations produced by wood-engraving is known in the early period. The early editions of Jouhari’s Tufan al-boka’ represent yet another solution to the dilemma of illustrating texts printed from movable type. All of the illustrations in the folio editions of 1269/1852, 1271/1854, and 1272/1855 extend over a full page, suggesting that the illustrations were added later in a separate process (figs. 9-11). Whereas Babazade opines the illustrations in the 1269/1852 edition to be done as engravings,”” both the separate printing as well as the distinctive style of the illustrations indicate that they were done by lithography. At any rate, it should be noted that the three above-mentioned editions of the 7ufan al-boka’ constitute the sole items prepared in this particular hybrid technique.

To further complicate matters, yet another edition of the Tufan al-boka’, of which only a single leaf remains — pasted inside the front cover of a 1303/1885 edition of Maylesi’s Favaher al-‘oqul preserved in Mashhad ~— contains not only a text printed in movable type but also an illustration on the same page (fig. 12). It remains unclear how the latter combination was achieved. Considering the high pressure that had to be applied when printing from movable type, it appears unlikely that both text and lithographic illustration could have been printed in a single print run. Various solutions to this dilemma may be suggested, though it is not clear which one was actually practiced. Probably the lithographic illustration was inserted in a later print run; or maybe the illustration was executed as a wood-engraving such as appears to have been the case in the above-mentioned 1261/1845 edition of the Rowzat al-mojahedin.

8 Babazade 1999:102 sq., no. 19; seven out of a total of eight illustrations are reproduced on pp. 238-244; see also Afshar 1965, fig. 7. ”? Golpayegani, H. 1372/1993. “Tarikh-i gravor-sazi dar Iran.” San‘at-e chap 12:58-59.

8° Babazade 1999:106—-108, no. 23.

9. GENRES OF ILLUSTRATED LITHOGRAPHED BOOKS The 1259/1843 edition of Maktabi’s Lek va Majnun was a modest first attempt at furnishing a lithographed book with illustrations. No other illustrated lithographed books from the same year nor from the following year are known. The next items identified in chronological order date only from 1261/1845 onwards. At present, it remains unclear how this lack of documentation should be interpreted. On the one hand, the absence of other early illustrated lithographed books might be due to the fact that relevant items were simply not produced; on the other hand, they might have been produced and are not preserved because of loss or heavy use, or else they might still be preserved in some as yet unknown collection. The fact that many of the books or specific editions examined for the present study constitute unique items supports the latter assumption. Moreover, many of the early items show signs of intensive use. A particularly interesting item in this respect is constituted by an untitled small booklet, here termed Dafiar, dated 1263/1846 (fig. 13). The booklet, which contains 13 leaves, is printed on blue paper and presents two hagiographic legends relating respectively to the youth of the prophet Mohammed and to ‘Ali. Its greasy lower corners indicate that it has been frequently used for edifying reading. Given these circumstances, the booklet is likely to have been preserved only by chance. While the Daftar is unambiguously dated, some 30 items in the material investigated for the present study do not contain any dating, whether this is due to the lack of such information in the colophon or the absence of final pages in imperfectly preserved copies. Judging by external criteria, several of these items might well belong to the early years of illustrated lithographed books. Current knowledge is, in most cases, not reliable enough to attempt a definitive dating. Even the attribution of their illustrations to specific artists is, as will be discussed in the following chapter, a highly speculative affair. At any rate, illustrated lithographic books remained a comparatively rare phenomenon for a number of years. At present, two items dated 1261/1845 (Anvar-e Sohail, Yusofiye) and four items dated 1262/1845 (Dozd va Qazi-ye Baghdad, Leth va Majnun, Tarassol [two editions}) have been located (fig. 14). ‘Three more illustrated items published in 1262/1845 have been identified in the sales catalogue of Charles Schefer’s oriental collection;*’ their present whereabouts are unknown. After the initial years, the range of production of illustrated lithographed books steadily increased. While publishers, calligraphers and artists alike obviously managed to cope with the difficulties posed by the new technique, customers appear to have approved of the new genre. From 1263/1846 onwards, the production of illustrated lithographed books became a regular phenomenon. The items produced were at first of a rather small size and of popular content, evidently burdening the publishers with *! Catalogue Schefer 1899, nos. 836 (Golshan-e hush), 842 (Hadi al-nazerin), 892 (Kolsum-nane).

GENRES

23

a minimal investment while promising a large readership and thus, profit. A strong commercial interest is also indicated by the fact that in 1263/1846, a whole series of popular romances was printed: Vush-Afarin-e Gouharty (fig.15), Chehel Tutt, Hormoz va Gol, and Dalle-ye Mokhtar. These ventures apparently met with the approval of customers, since only a few years later a considerable amount of illustrated books were available. The year 1264/1847 witnessed the production of a number of abundantly illustrated books, including the Persian translation of Qazvini’s ‘4ja’eb al-makhluqat with more than 300 illustrations (fig. 16), Molla Bamun-‘Ali’s Hamle-ye Hecdariye with 51 illustrations (fig. 17), and the profusely illuminated folio edition of

Nezami’s Khamse with ornate chapter

headings, 39 large-scale illustrations and some 300 margin (fig. 18).** Soon after, publishers even were in the time-consuming production of voluminous edition of Ferdousi’s Shah-ndme comprises 1186

miniatures in small triangles on the ready to risk significant investment works. The first Iranian illustrated pages written by the calligrapher

Mostafa-Qoli b. Mohammad-Hadi Soltan Kajuri and contains 57 large illustrations by

Mirza ‘Ali-Qoli Khu’, the most productive artist of the day in the field of lithographic illustration (fig. 19).* The book was eventually published in 1267/1850 after having been in preparation for almost two years. In terms of production, one of the most voluminous illustrated (or, to be specific, in this case only illuminated) items examined for the present study is the edition of Mir Kh’and’s Rowzat al-safa comprising 1185 folios and including ten beautifully executed chapter headings done by Mirza ‘Ali-Qoli Khu’, it was eventually published in 1274/1857 after keeping the prolific calligrapher

‘Ali-Asghar Tafreshi occupied for almost five years.” As has been mentioned above, illustration was practiced in a large variety of lithographed books. Since the present study focuses on illustrations of a narrative character, several genres of illustrated lithographed books have by definition not been included, nor have they been investigated in detail. These include travel literature, such as Safarname-ye Naser al-Din Shah be-Mazanderan (1294/1877) or Safar-name-ye Naser al-Din Shah beKhorasan (1300/1882); historical works such as Wame-ye Khosravan by Jalal-al-Din-Mirza b. Fath-‘Al Shah or Asar-e ‘ajam by Forsat-e Shirazi, both of which were repeatedly printed in India; medical works such as Anvar-e naseriye (1272/1855), Favaher al-tashnh (1306/1888) or Zeya’ al-‘oyun (1309/1891); astronomical works such as E‘tezad alSaltane’s Falak al-sa‘ada (1278/1861); dogmatical works such as Kashfi’s Tohfat al-moluk (1273/1856); books on military education with the exception of Qanun-e negam

(1267/1850; fig. 20); translations of European narrative literature” such as the ®2 Robinson 1979. 8 Safi-Nezhad,J. 1374/1995. “Shahnameha-ye chap-e sangi.” Miras-e farhangi 14:24-30. ** Bayani, M. 1363/1984. Ahval va asar-e khosh-nevisan. vol. 1—4 in 2. 2nd edition, Teheran, vol. 1:435, no. 614. 8° Included in the survey due to its illustrations being done by Mirza ‘Ah-Qoli Khu’1. *® Shcheglova, O.P. 1983. “K voprosu o perevodakh s evropeiskikh yazikov na persidskiy v Irane v XIX v. ob ikh pervikh publikatstyakh.” Pismennye pamyatniki 1 problemy istoru kultury narodov Vostoka 17:109-113.

GENRES

24

French Mille et un jours (Alf al-nahar 1314/1896), Boccaccio’s Decamerone (1322/ 1904) or Alexandre Dumas’ Conte de Monte Christo (1312/1894). Illustrations in contemporary journals such as the numerous lifelike portraits (often prepared from photographs) contained in contemporary journals are also excluded. In view of the focus of the present study on the development of traditional topics in lithographic illustration, the above definition has been applied with a certain pragmatism. Accordingly, a few exceptions to the above rule have been made due to the pre-eminent narrative character of the illustrations in several works that technically ought to be ruled out. ‘These include the historical compilations Bahr al-fava’ed, Nosrat-name (fig. 21) and Tarkh-e Naderi (fig. 22) as well as the booklet Tarikh-e Zelzele-ye Quchan; the dogmatical catechism ‘Aqa’ed al-shi‘a (fig. 23); the cosmographical and zoographical monograph ‘Aja’eb al-makhluqat (fig. 16) and its Persian adaptation Khavass al-hayavan; the astrological work Sharh-e Bist bab-e Molla Mozaffar (fig. 24); the pedagogical handbook (translated from the French) Ta ‘db al-atfal (fig. 25) and the book of writing exercises Tarassol (usually containing illustrations of Shirin bemoaning Farhad’s death as well as of Soltan Mahmud and his beloved Ayaz; fig. 26, see also figs. 14.5-6). The majority of other works considered fit more or less into one of the three categories outlined below.

2.1. Classical Persian Literature

A large number of books published in illustrated editions belong to traditional Persian literature, whether classical or contemporary in the classical style. The majority of the works concerned are of a narrative and thus mainly fictional character, and while the stories employed often serve to illustrate specific moral or edifying points, many offer themselves readily for illustrations. The most popular of the classical Persian authors was Sa‘di, whose collected works (Kolleyat) in a period ranging from 1268/1851 to 1310/1892 were published in illustrated lithographed editions at least fifteen times (figs. 27-28); in addition, Sa‘di’s Golestan is known to have been published separately (1285/1868, 1287/1870). Next in

popularity was Nezami’s Khamse, of which nine Iranian illustrated editions were published between 1264/1847 and 1352/1933 (fig. 29).8’ The Indian editions of these two works were more often than not devoid of illustrations, whereas the five Persian editions of Ferdousi’s Shah-name produced between 1265-67/1848-50 and 1322/1904

(fig. 30) are outnumbered by some 25 illustrated Indian editions.** Other frequently produced works of classical Persian literature include Mohammad-‘Ali Hablerudi’s

*” Only one illustrated edition of the Khamse is known to have been produced in India, i.e.

the Bombay edition of 1910/1328; see Radfarr, A. 1371/1992. Ketabshenasi-ye Nezami-ye Ganja. Teheran, p. 35; Arberry 1937:246.

°° Afshar, I. 1347/1968. Ketabshendsi-ye Ferdousi, Teheran; Marzolph, U. (forthcoming [b])

Illustrated Persian Lithographic Editions of Ferdousi’s Shdéhndme.

.

GENRES

25

book on proverbs and ther related tales, Jame‘ al-tamsul (fig. 31), enthusiastically praised as the most frequently printed book in the Persian language, with at least eleven illustrated editions published between 1269/1852 and 1321/1903,*° and Hosein b. Va‘ez Kashefi’s Anvar-e Soheih with at least seven illustrated editions published between 1261/1845 and 1298/1880." The Diwan of Hafez was not a particular favorite among illustrated editions, and

besides the lavishly illustrated editio princeps of 1269/1852 (fig. 32) only one more edition is considered here (1284/1867). Other less frequently published works falling within this category are concerned with fable literature (Kalle va Demne and its late nineteenthcentury adaptation Akhlaq-e asas1), classical poetry (Bafqi and Vesal-e Shirazi’s Farhad va Shirin, Maktabi’s Lech va Majnun, the selection from Jalal al-Din Rumi’s Masnavi known as Masnavi-ye atfal fig. 33], Baha’i’s Nan va Hala, Fozuli’s Rend va Zahed, and the version of Yusofva Xoleikha often attributed to Ferdousi [fig. 34]; Abu Eshaq Shirazi’s Boshag-e ateme and Kanz al-eshteha’) and prose (Hosein b. Va‘ez Kashefi’s Akhlagq-e Mohsem [fig. 35)), and moralizing or entertaining works compiled by contemporary authors, some of them elaborating on traditional themes, such as Majlesi’s Javaher al-‘oqul, Meikade’s Chahar fasl, Naraqi’s Tagdis, Q@ani’s Parishan-name or Reza-Qoli-Khan’s Golestan-e Eram and Reyaz al-mohebbin (fig. 36).

2.2. Religious Literature The second category to be mentioned concerns editions of religious literature. Of particular prominence 1s the genre termed rouze-kh’am, a denomination referring to the public or semi-public recitation of Hosein b. Va‘ez Kashefi’s Rouzat al-shohada’. This

genre, closely connected to the dramatic performance of ta‘zye, treats the central tragedy experienced by the Shute community, the martyrdom of Hosein and his

companions at Kerbela’, and was particularly popular in the Qajar period.*! While the Rouzat al-shohada was apparently never published in an illustrated edition, contemporary compilations of the genre, also known as marszye (lament) or magtal ([narrative about a] scene of combat), gained considerable popularity. Illustrated religious works include Molla Bamun-‘Ali’s Hamle-ye Heidariye (first illustrated edition 1264/1847 [fig. 17]), Sarbaz Borujerdi’s Asrar al-shahdada (first illu8° Mohammad ‘Ali Hablerudi: Majma‘ al-amsal. ed. S. Kiya. Teheran 1344/1965; cf. Marzolph, U. 1999a. “Illustrated exemplary tales: A nineteenth century edition of the classical Persian proverb collection Jame‘ al-tamsu.” Proverbium 16:167-191. °° Marzolph, U. (forthcoming[a]). “The lithographed Katia. Illustrations to tales from the Anvar-e Soheili and Kalila va Dimna tradition in lithographed editions of the Qajar period.” Islamic Art. 9! Chelkowski, P,J. (ed.) 1979. Ta‘ziyeh: Ritual and Drama in Iran. New York: New York University Press; Fontana, M.V. 1994. Iconografia dell’Ahl al-Bayt. Immagini di arte persiana dal XII al XX secolo. Naples; HomAyuni, S. 1368/1989. Ta‘ziye dar Iran. Shiraz: Entesharat-e Navid.

GENRES

26

strated edition 1268/1851 ffig. 37]), and, above all, Jouhari’s Tufan al-boka’, of which numerous editions were printed in movable type, some of them together with lithographic illustrations (1269/1852, 1271/1854, 1272/1855); the first datable illustrated lithographed edition was published in 1272/1855, while an undated fragmentary lithographic edition illustrated by Mirza ‘Ali-Qoli Khu’ [fig. 38] probably predates that edition by several years. Other, less popular works of the genre include those under the headings Anvar al-shahada, (Ketab-e) Faregh-e Gilam, Ganjine-ye asrar, Habib al-ousaf, (Ketab-e) Judi, Khavar-name, Majiles al-mottagin, Matamkade, Mokhtar-name, Tohfat al-maales, Tohfat al-zakerin, Vasilat al-najat. Some works are more or less explicitly concerned with combat situations (fang-name-ye Emam Hasan, Fang-name-ye Mohammad-e Hanafiye, Moseiyab-name), while others of a hagiographical character elaborate on the sanctity of either the prophet Mohammad himself (Me‘raj-ndme) or members of the holy family, the ahl al-beit (Efiekhar-name-ye Heidari, Jame‘ al-moJezat, Hadis-e Hazrat-e Amir, Hasanein, MoJezat-name-ye Hazrat-e Seiyed al-Shohada’ ).”” A small group of religious narratives belongs to the popular genre of stories of the

prophets.*® They include the classical Persian Qesas al-anbeya’ by Joveiri, and short prose versions of tales about single characters (Khezr va Hazrat-e Am, Musa, Solaman), while the contemporary Akhbar-name (fig. 39) is arhymed version of the genre, beginning with the creation of the world and the fall of Eblis and ending with the day of judgement (ruz-e gywamat). Na ini’s Yusofiyye is a particularly interesting work, since it links the

Islamic version of the biblical narrative of Yusof ** to the martyrdom of Kerbela’. The anonymous catechism Hezar mas‘ale, allegedly translated from the Syriac, treats central questions of Muslim belief in the form of an explanatory dialogue.

2.3. Romantic Epics and Popular Narratives The third category of illustrated lithographed books comprises various kinds of imaginative narratives. The largest compilations of this category are the Persian translation of the Arabian Nights (Alf leila va leila) with at least seven illustrated editions between 1272/1855 and 1320/1902 (figs. 40-41), the Eskandar-name, whose first edition was published in 1273-74/1856-57 (fig. 42) and the voluminous Romuz-e Hamza (first edition 1274-76/1857-79 [fig. 43]). The latter two of these works — though relying on a long textual tradition — apparently constitute contemporary redactions prepared in the Qajar period.

* Fontana, M.V. 1994. Iconografia dell’Ahl al-Bayt. Immagini di arte persiana dal XII al XX secolo.

Napol.

* Milstein, R., K. Rtihrdanz, and B. Schmitz. Manuscripts ofQisas al-anbiya@’. Costa Mesa: Mazda.

* Merguerian, G.K., and A. Najmabadi.

1998. Stories of the Prophets. Illustrated

1997. “Zulaykha and Yusuf: Whose

Story?” Journal ofMiddle Eastern Studies 29:485—508.

‘Best

GENRES

Zs

The bulk of illustrated lithographed versions of imaginative narratives 1s formed by the numerous less extensive tales of adventure and romance, a genre that obviously enjoyed an overwhelming popularity: Amir Arsalan, Badv‘ al-molk, Bahram va Golandam, Dalle-ye Mokhtar, Falak-Naz, Farrokh-Shah, Hedar-Beg, Hormoz va Gol, Hosein-e Kord, Khavar

va Bakhtar, Khosrou-e divzad, Nassaj va Najjar, Naz va Neyaz, Nush-Afarin, Qahraman-e qatel, Rostam-name, Salim-e Javaheni, Shiruye, Zarir-e Khoza%, Ziba va Ra‘na. With the exception of

Amur Arsalan, these works belong to the anonymously compiled stock of popular tradition. Many of these narratives remained popular well into the twentieth century.” A small number of collections of stories (Bakhtiyar-name, Chahar darvish, Chehel Tutt) also belongs to this category, as do humorous tales and collections thereof (Dozd va gaziye Baghdad, Lata’ef va zara’ef, Molla Nasr al-Din) and a few folktales in verse (Khdle-ye Suske,”° Khale-ye Qurbaghe, Shangul-o Mangul).

°° Marzolph 1994a. °° Nam-avar, F. 1378/1999. “Dastan-e Khale-ye Suske: Ketman-e khoshunat dar farhange irani.” Mime-ye digar 2,5:42—-54.

3. ARTISTS ACTIVE IN LITHOGRAPHIC ILLUSTRATION As in other fields of art, the means of attributing particular works of lithographic illustration to specific artists are limited.’’ It has already been mentioned that lithography in Iran constituted at first little more than a smooth continuation of manuscript production with a different set of technical means. In lithographed books, as in manuscripts, the scribe would normally sign his name in the concluding colophon, and sometimes also at the end of each chapter. The relevant passage, often including a stereotypical mvocation on behalf of the scribe, in lithographic printing came to incorporate mentions of both the various persons who participated in organizing and financing the book’s production (hasb al-farmayesh-e ...)”° as well as the printing establishment (dar chap-khane-ye ...). Contrary to the scribe’s practice, an artist would rarely have his name mentioned in the colophon of a book. If the artist signed anything, it would be specific illustrations he had executed. This could be done by plainly mentioning the personal name in a short or an extended form or by introducing the name with a variant form of the term normally employed for “illustration/illustrated by ...”, ‘amal(-e) or raqm(-e)/rageme(-ye) folan. Even this modest indication of an illustration’s creator was not common practice. The majority of lithographic illustrations are unsigned, their artists remaining anonymous. Moreover, those artists signing by name did not use fixed forms or standard artistic variations of their signature. At times, the perfect calligraphic nature of an artist’s signature might even lead one to wonder whether it was executed by the scribe rather than the artist himself. If an artist signed his production, he would do so in one or several instances. Only specific artists of the later years of hthographic illustration such as Mostafa made it their practice to sign each illustration they designed. It is tempting to assume that each and every illustration bearing a specific artist’s signature was executed by that very person. Already this simple assumption connects to a serious caveat: On the one hand, later artists might copy a famous predecessor’s name in order to participate in his fame and to authenticate their own production; the same might be done by any of the various subsequent owners of an item. On the other

*” For general information on Persian artists, see Karimzade Tabrizi, M.-‘A. 1363-70/1985-91. Ahval va asar-e naqqdshan-e gadim-e Iran. vol. 1-3. London. As far as available to him, the author also takes lithographic illustration into consideration. °° When discussing the various duties exercised by publishers, Afshar 1965:25 distinguishes between persons who financed the printing (bani, sar-maye-gogar) and those who supervised the process (mobasher-e tab‘), in addition to the head of the actual printing establishment. Fazel Hashemi 1998:109-118 draws a similar line between those who ordered the publication (sefaresh-dehandegan) and the actual publishers (ndsheran). While retaining the respective formulas in the bibhographical documentation, no distinction has been made for the present purpose.

ARTISTS

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hand, an existing signature might have been erased and supplanted by that ofa different artist. Instances of this kind of falsification abound in manuscript illumination. In lithographic illustration, the ink employed when inserting any addition to the original, whether in writing or drawing, normally differs from the printed parts so much as to remain identifiable. An intriguing example of an inserted signature is supplied by the various versions of the picture illustrating the scene where the shepherd punishes his faithless dog. The instance, occuring towards the end of Nezami’s Haft peikar in the edition of the Ahamse published in 1269-70/1852-53 (fig. 44), has been discussed

previously, but in the light of new findings has to be re-evaluated.” In the copy preserved in the Teheran National Library as well as in one of the two copies in Halle,

the relevant illustration contains a signature clearly reading ‘amal-e Mirza ‘Al-Qoli Khu’. ‘The signature is placed in the free space on the right side of the tree in the illustration’s center and is executed in dotted lines, in a calligraphic style vaguely comparable to this artist’s other known signatures. Comparison with the copies of the same work in other libraries (New York, Gotha, Tubingen) reveals the corresponding illustration to lack any trace of a signature in those copies, while both the illustrations themselves and the page layout are exactly identical. The newly discovered second copy in Halle and the signature’s identical execution in both known copies now rule out the previous assumption that the signature in the Teheran copy is a faked addition by a different hand. Whereas the Teheran copy at present is available only by way of microfilm, the Halle copy has been examined in situ. It shows no trace of the signature bemg added in a different ink. In general, though the signature’s graphic execution is unusual for this artist, it is by no means more exceptional than any other of Mirza ‘Ah-Qoli Khu’i’s playful signatures. While several solutions to the enigma appear possible, it may be surmised that the artist himself or another person at any time during the process of printing added the signature in reverse writing into the illustration as fixed on the lithographic stone. ‘This procedure would explain the signature’s unusual shape and its execution in dotted lines as well as its absence in a certain number of printed copies. One also has to be careful not to overestimate the presence of a specific artist’s name, i. e. treating every illustration inside a particular book containing an artist’s signature to be his. So far, the only artist known to have signed his name at the end of a chapter or book, in a way similar to the scribe’s practice claiming responsibility for all parts of the finished product, is Mirza ‘Ali-Qoli Khu’i (fig. 45). As documented in the listings below, the cooperation of two artists was quite a common phenomenon. In many instances, two artists might have shared in illustrating a specific book, with only one of them mentioning their name. For example, the illustrations in the 1317/1899 edition of Amir Arsalan show two specific styles (fig. 46). While nos. 1-9 are done in a clear and traditional style, nos. 10-21 render the figures on a smaller scale, thus giving more prominence to the surrounding features. Of the latter group, all but nos. 10 and 18 bear the signature of Hosein-‘Ah, while the artist of the former group remains anonymous.

°° Marzolph 1997:192.

30

ARTISTS

The 1308/1890 edition of Habib al-ousaf documents the reverse case (fig. 47). Here the artist Mostafa, in addition to executing the author’s portrait and the book’s heading, has

created the initial set of nine illustrations. Though only one bears his signature, all of the other ones unmistakably show his style, while the concluding four items are done by an anonymous artist. In addition, three items illustrated by a team of three artists each are known: the 1272/1855 edition of A/f leila va leila, illustrated by Mirza ‘Ali-Qoli Khu’i, Mirza Hasan

and Mirza Reza Tabrizi (fig. 48), the 1282/1865 edition of Kalile va Demne, illustrated by Mirza Jafar, Mohammad-Bager-Khan and ‘Abd al-Muttalib (fig. 49), and the 1319-22/ 1901-04 edition of the Shah-name, illustrated by ‘Ali-Khan, Hosein-‘Ah and Mohammad-K4zem al-Hamadani (fig. 50). At least one item was even produced by a team of four artists, namely the 1283/1866 edition of the Eskandar-name, illustrated by Mirza Heidar-‘Ali Shirazi, Mirza Musa, Mohammad-Taqial-Kh’ansari, and Mashhadi ‘Abd al-Hosein Shirazi (fig. 51). Since judging all illustrations to be the product of the artist or artists that signed 1s obviously too superficial, secondary criteria must be considered. Besides the actual signature, the analysis of stylistic criteria developed on the basis of solid evidence may

be the most important help toward identifying a given artist’s work. Easy as this task may sound, the specific character of lithographic illustration makes it an extremely difficult one. As will be mentioned frequently in the following passages, many lithographic illustrations lack individuality in terms of both topic and execution. Specific illustrations were often copied by later artists so minutely as to be judged a plagiarism by Western standards. Moreover, not many artists developed an individual style clearly setting them apart from others. ‘The attribution of an unsigned illustration to a specific artist thus remains a highly speculative affair. With these general considerations in mind, in what follows the most prominent artists in lithographic illustration are presented. The assessment of their work primarily relies

on the data collected in relation to their lithographic production. It is supplemented by secondary evidence extracted from other sources. Not much is known about the output of artists in other art forms, such as single-leaf drawings (siyah-galam), oil painting or lacquer painting. The few cases in which artists active in lithographic illustration also excelled in other forms of drawimg or painting lead one to assume that lithographic illustration was not exercised as an exclusive profession. On the other hand, the activities of artist and scribe most often constituted separate professions. Only in a few books in the later period of lithographic illustration did the scribe also execute the illustrations, e. g. in the 1300/1882 edition of Khavar va Bakhtar done by Mortaza alHoseini al-Baraghani, the 1320/1902 edition of the Divan-e La’ali done by Mohammad“Alb. Zein al-‘Abedin al-Kh*ansari, the 1320/1902 edition of Alfleila va leila done by Hosein-‘Ali b. ‘Abdallah-Khan, and the 1366/1946 edition of Tufan al-boka’ done by

Mohammad Sane‘ Kh’ansari. There are further cases of cooperation between different

categories of artists. In a few cases an illuminator was sometimes hired besides the illustrator to execute the illuminated chapter heading — such as in the 1271/1854

ARTISTS

31

edition of Fame al-moYezat done by Seiyed Ja‘far al-Kh*ansari (fig. 52). On the other hand, examples such as the beautiful competition between the artists Mirza ‘Ali-Qoli Khuw’i and Mirza Reza Tabrizi in the double-page chapter heading of the 1272/1855 edition of A/fleila va leila show that illustrators would normally also command the art of non-figural illumination (fig. 53).

3.1. Mirza ‘Ali-Qoli Khu’ (1263-72/ 1846-55) The most prolific artist of narrative illustration in Persian lithographed books is Mirza ‘Al-Qoli Khu’. He is the first artist identifiable by name, and he is an artist with a tremendous output. Moreover, his work is not only quite original and appealing but also clearly distinguishable through a set of typical characteristics. Coming from the town of Khuy in the province of Western Azarbaijan, Mirza ‘Ali-Qoli Khu’1 is likely to have spent his early days in Tabriz, where lithography was introduced before the major printing houses moved to Teheran. Given the delicate and refined style already evident in his early work, Mirza ‘Al-Qoli Khu’i must have profited from a solid education. Even though his earliest identifiable production dates from 1263/1846, anumber of the unsigned illustrations in books printed in or before 1263/1846 should most probably be attributed to him. The 1264/1847 edition of the Khamse-ye Nezami (fig. 18) proves him to be the supreme master of his time in lithographic illustration, a position that remained unchallenged until the end of his active career. Soon after the beginning of Naser al-din Shah’s reign in 1264/1847, Mirza ‘Ali-Qoli Khu’i apparently followed the court to Teheran. In the 1267/1850 edition of the Qanun-e nezam he signs himself as Jarrash-e qeble-ye ‘alam (‘chamberlain to the pivot of the universe’; fig. 20), in the edition of Sa‘di’s Kolleyat completed in 1268/1851 as bande-ye dargah (‘in the service ofthe court’); in the first volume of the 1270-74/1853-57 edition of Mirkh’and’s RouZat al-safa’ he states to be khadem-e madrase-ye Dar al-fonun (‘servant of [viz: employed at] the Academy {in Teheran]’) and also qualifies himself as a professional artist (nagqash; fig. 54). His latest signed works date from 1272/1855 (Alf leila va leila, Tufan al-boka’). Even though the calligraphy (by ‘Ah-Asghar Tafreshi) of the final volume of RouZat al-safa’, whose chapter-heading 1s signed by Mirza ‘Ali-Qoli Khu’, was only completed in 1274/1857, the artist’s contribution is more likely to have been produced close to the date given in the preceding volume, whose colophon was signed in 1271/1854 by ‘Abd al-Rahim alShirazi. The only other information at present available about Mirza ‘Ah-Qoli Khu’i is the fact that, apparently, a son of his continued to practice the profession of artist: an illustration in the 1286/1869 edition of the Matamkade by Qorban b. Ramazan “Bidel”’

published by Jaber ‘Andsori contains the signature of a certain Mirza Esma'll, son of Mirza ‘Al-Qoli Khw’i.'”° 100 ‘Anasori,J.1374/1995. “Mo‘arrefi-ye kotob-e chap-e sangi. 32: Matamkade — Mosibat-name-ye Dasht-Bala (nazm va nasr).” San‘at-e chap 152 (Shahrivar), pp. 66-67.

32

ARTISTS

Additional evidence might help to specify the end of Mirza ‘Ali-Qohi Khu’r’s active career. The first page of the weekly journal Ruzname-yevaqaye‘-e ettefaqye, whose first issue was published on Rabi‘ II 5, 1267 (corresponding to February 7, 1851) is adorned with

the Qajar emblem of the male lion holding a sword in his right paw, with the sun shining from behind his back. Most of the images in the journal’s early years appear to be executed by Mirza ‘Ali-Qoli Khw’i. Two arguments support this assumption. In the matter of style, the lions on the journal’s first page closely resemble those executed by Mirza ‘Ali-Qoli Khu’i in the ten volumes altogether of Rouzat al-safa. Moreover, the journal was printed by ‘Abd al-Mohammad in Teheran, the very same establishment in which at least three of the items illustrated by Mirza ‘Ali-Qoli Khu’i were also printed (1265-67/ 1848-50 Shah-name-ye Ferdoust, 1267/1850 Qanun-enezam; 1267—68/ 1850-51 Sa‘di). Accordingly, it appears fairly safe to assume that Mirza ‘Al-Qoli Khu’ might have executed many if not most of the lions in the journal’s early years. Interestingly, the appearance of the lions, which had been quite consistent for a long period, abruptly changes at some point during the latter half of the year 1271. A thorough analysis is needed to determine the exact point of change, but even so a first assessment shows that at least from the issue dated Zi-Qa‘de 11, 1271 (corresponding to July 26, 1855) the lion’s appearance 1s distinctively modified, and none of the lions in the following weeks returns to the previously practiced style. The range of the books signed by Mirza ‘Ali-Qoli Khu’i comprises almost 30 items over a period of ten years. undated

Tufan al-bok@ (printed from movable type)

undated

Tufan al-boka’

1263/1846

Bakhtiyar-name

1263/1846

Nush-Afarin

1264/1847 1264/1847

‘Ajaeb al-makhlugat Khamse-ye Nezami

1264/1847

Khosrou-e diwzad

1265/1848

Majiles al-mottagin'®'

1265/1848 1265-67/ 1848-50

Moseiyab-name Shah-name-ye Ferdousi

1267/1850

Qdanun-e nezam!°?

1267-68/ 1850-51

Sadi

1268/1851 1268/1851 1268/1851 1208-097 1.851202 1268-91/1851-74 P2609 eo2 1269/1852

Asrar al-shahada Chehel Tuti Jang-name-ye Mohammad-e Hanafiye Sad Sad Hafez Hamle-ye Heidariye

101

SPUG O IV 49 = Shcheglova 1989:111, no. 225 (not seen).

Not

listed in Marzolph 1997.

ARTISTS 1269/1852 1269--70/ 1852-53 1270/1853

Tufan al-boka@ (printed from movable type) Khamse-ye Nezam

1270/1853

Khamse-ye Nezam

1270-[71]74/1853-[54]57

Rouzat al-safa’

1271/1854

Tufan al-boka’

127171854 12727 1855 127271859

Tufan al-boka (+ Mirza Hadi; printed from movable type) Alf lela va lela (+ Mirza Hasan, Mirza Rez)

1271/1854

aa

Golestan-e Eram

Taqdis

Tufan al-boka’ (printed from movable type)

These books contain a total of more than 1,200 illustrations, varying in size from stamp format up to a full folio page. In addition, Mirza ‘Ah-Qoli Khu’ prepared a large number of intricate illuminations on chapter headings and final pages, plus about two thousand miniature decorative and ornamental drawings, notably in the 1264/1847 Khamse-ye Nezam, the 1268-69/185 1-52 Kolleyat Sa‘di and the 1269/1852 Dwan-e Hafez.

While Mohammad-‘Ali Karimzade Tabrizi regards Mirza ‘Al-Qoli Khu’i’s work as simple (sade-kar) but charming (kh’osh-dast),!°’ Basil Robinson has adequately praised him

as the “pioneer among artists who devoted their talents to the printed book” in the early Qajar period. Robinson has characterized Mirza ‘Ah-Qoli Khu’i’s style in the 1264/1847 Khamse as stiff and naive, yet at the same time effective and sometimes striking. A survey of the artist’s extensive production moreover reveals individual stylistic features characteristic of his work. Mirza ‘Ali-Qoli Khu’i exercised great care in the highly stylized minute representation of human expression, both faces and gestures. Beautiful persons are always portrayed in three-quarters profile so as to underline the beauty of the evenly rounded face, whereas ugly persons, particularly old women, are usually portrayed in full profile, stressing the hard outline of their expression against the softness of youthful beauty, both male and female (fig. 55). Particular attention is given to the hair and beard, which are often done in single parallel lines. While the faces of persons are usually rendered in a stereotypical manner, emotion is expressed by auxiliary means such as gestures — particularly the gesture of bewilderment and confusion, known as angosht-e tahayyor, in which the index finger of the right hand is held against the lips (fig. 56). Agony as well as imminent or actual death is expressed by showing details of exposed teeth and stuck out tongues (fig. 57). In order to avoid leaving blank space in the background of

illustrations (the horror vacut), Mirza ‘Al-Qoli Khu’’s renderings of landscapes are typically filled with silhouettes of tiny birds in flight. The progressive reduction of their stylized representation can be traced from large illustrations containing detailed depictions of birds to often no more than a tiny pair of slightly bent crossed lines (fig. 58). Moreover, the artist shows a preference for a particular kind of meandering 103

Karimzade Tabrizi 1985—91:vol.1, no. 683.

'0¢

Robinson 1979:62.

ARTISTS

34

ornamental lines in decoration (fig. 59). Since a combination of these features is not encountered in the work of any other artist but him, they are tantamount to an implicit signature. If several of the criteria mentioned above coincide within a specific book contemporary with the artist’s active career, they may serve as reliable evidence for identifying that book as illustrated by him. On these stylistic grounds, the following unsigned works are most likely attributable to Mirza ‘Al-Qoli Khu’. undated 1263/1846

1266/1849 1266/1849 1267/1850 1267/1850

Yusof va Koleckha Farhad va Shirin Hamle-ye Heidariye Hosein-e Kord Matamkade Soleiman Akhbar-name Anvar-e Soheili

1264/1847 1265/1848

1268/1851

Akhlag-e Mohsen

1268/1851

KZarir-e Khozat

26971852

Jame al-tamsil (+ Mahmud al-Kh’ansar1)

1270/1853

Reyaz al-mohebbin

ATA INS 1271/1854 b2 7171854 1271/1854

Fame al-moYezat (heading signed by Ja‘far al-Kh’ansari'””) Parishan-name Salim-e favahen Shirupe

It should be noted again that Mirza “Ali-Qoli Khu’i was by no means the only artist active at this time. Since the quality of Qayar art is not necessarily defined by originality and individuality in expression, it is not surprising that several known as well as unknown artists of the day practiced a style that is at times so similar to that of Mirza ‘Ali-Qoli Khu’i as to be hardly distinguishable from it. Particular candidates in this respect are two artists mentioned below, namely Mirza Hadi (3.6) and Mirza Seifallah al-KhYansari (3.7). Their early years coincide with the later years of Mirza ‘Ah-Qoli Khu’'’s active career.

3.2. Ostad Sattar Tabrizi (1267—75/1850-58) This artist is mentioned as authoring the (undated) drawing of a composite camel.! Since all of the three books listed below were printed in Tabriz, the artist was most probably a resident of that city. Accordingly, besides the Persian language books listed,

105

According to Karimzade Tabrizi 1985-91:vol. 1, no. 442, Seiyed Ja‘far primarily, if not exclusively, practiced illumination (taghib). The evidence quoted is dated 1285/1868. °° Karimzade Tabrizi 1985-91:vol. 1, no. 419.

ARTISTS

3D

his artwork might also be contained in Turkish language books of the period, such as the 1265/1848 edition of the popular romance Sepfiilmiiltk'”’ or the 1274/1857 edition

of Leild ile Mecnun.'** Three Persian books containing the artist’s signature have been identified. 1267/1850 1274/1857 1275/1858

Farhad va Shirin Sad Shah-name-ye Ferdoust

Ostad Sattar’s style is marked by clear lines and a confinement to essentials. The heads of his figures are often disproportionately large, and men dressed in the Qajar style usually wear a large and high-peaked felt hat that within the illustration is rendered prominently in black (fig. 60). A good point of comparison to the style of Mirza ‘Ah-Qoli Khu’ is supplied by the’ Skah-name, since this work was illustrated by both artists consecutively. Mirza ‘Ali-Qoli Khu’i’s work was modeled on the first Indian edition of the Shah-name. While Ostad Sattar follows his predecessor both in terms of scenes illustrated and the individual depiction of scenes, his own illustrations are reduced in detail and expression (fig. 61). Three of the illustrations in the 1272/1855 edition of Sa‘di’s Kolleyat are executed in a style closely resembling Ostad Sattar’s, while all of the other ones are done in an extremely lucid style. This style also appears in several other editions of the period none of which contains the artist’s signature. Whether or not these latter editions represent a change in Ostad Sattar’s style remains to be investigated. At any rate, most of them, as listed below, were printed in Tabriz: 1266/1849 L22071393 LP AlLGot 1271/1854 127471857 1276/1859 1277/1860 1278/1861 1280/1863

Tartkh-e Naden Ketab-e Faregh-e Guan Yusofva Koleckha Mosewab-name Mayales al-mottagin

Tarikh-e Naden Asrar al-shahada Tohfat al-majales Khavar-name

3.3. Mirza Mahmud al-Kh’*ansari (1269-73/ 1852-56)

Karimzade Tabrizi— without quoting averifiable evidence ~ dates this artist to the reign of Mozaffar al-Din Shah (1313-24/1896-1907),'° and no other artist by this name is eli

GS EiPoesy Bue.27A8:

108 _ °

Derman 1988:111—114, ills. 64-72. Karimzade Tabrizi 1985—91:vol. 3, no. 1185.

36

ARTISTS

known. The description Karimzade Tabrizi quotes from memory concerns an illustration in which a prince on horseback meets a group of merchants asking his help; this description more or less fits an illustration in the 1269/1852 edition of the Jame'

al-tamsil bearing the signature ‘amal-e Mahmud al-Kh'ansari.'"" Three editions containing Mirza Mahmud’s signature have been identified: Fame‘ al-tamsil (probably + Mirza ‘Al-Qoh Khu’) Yusofiyye Soleoman

126971852 1269/1852 1273/1856

Mirza Mahmud’s style is simple and unpretentious and reveals a certain clumsiness, particularly in the execution of people’s faces and gestures. Most of the illustrations in the 1269/1852 edition of the Jame‘ al-tamsil differ from his usual style and appear to be the work of his contemporary Mirza ‘Ali-Qoli Khu’.

3.4. Mirza Hasan b. Aqa Seiyed Mirza Esfahani (1271-81/1854-64) In the early period of lithographic illustration, Mirza Hasan is second to Mirza ‘Ali-Qoli Khu’ in terms of artistic expression, creativity, and range of production. Being the son of the well-known court painter Aqa Seiyed Mirza, whose period of activity predates the

year 1258/1842,''' Mirza Hasan probably started as Mirza ‘Ali-Qoli Khu’i’s apprentice or student. An early work containing his signature is the 1272/1855 edition of A/fleila va lela (fig. 62), the majority of whose illustrations are executed by Mirza ‘Ali-Qoli Khu’. (Mirza Reza Tabrizi, subject of the next entry, also participated in illustrating this edition; see fig. 48). Mirza Hasan remained a highly productive artist for about a decade, during which he illustrated or participated in the illustration of probably more than twenty different books. Mirza Hasan’s production includes such voluminous works as the large sized Eskandar-name (1273-74/1856—-57; fig. 42) and Romuz-e Hamza (1274-76/1857-S9; fig. 43), as well as another Alf lela (1275/1858; fig. 63). His latest signed works are the 1281/1864 editions of the Anvar-i Soheik and Tufan al-boka’. 1271727

85455

1272/1855 2a

NCOs

L2733/4/ |856—57 1274/1857

"1° ''

Sadi

Alf leila va lela (+ Mirza ‘Ali-Qoli Khwi, Mirza Reza) Sad (+ Mirza Seifallah)

Eskandar-name (+ Seifallah Kh’ansari) Anvar-e Soheili

Marzolph 1999:175, no. 9. Karimzade Tabrizi 1985—-91:vol. 1, no. 448; Adamova, A.T. 1998. “Art and diplo-

macy: Qajar paintings at the State Hermitage Museum.” in Diba, L.S., with M. Ekhtiar (eds.) 1998. Royal Persian Paintings. The Qajar Epoch 1785-1925. London: I. B. Tauris, New York: Brooklyn Museum of Art:p. 72; and p. 196, fig. XVI.

ARTISTS 1274/1857 1275/1858

Sad Alf leila va leila

1274-76/165/=59 7021898

1275/1858

Romuz-e Hamze Nosrat-name Taqdis

1275/1858

Tufan al-boka”

1276/1859 1278-80/ 1861-63 1281/1864 1281/1864

Hosein-e Kord Sadi Anvar-e Sohei Tufan al-boka@’

37

The Kolleyat of Sa‘di appears to have been Mirza Hasan’s special favorite, for he illustrated

the work

at least four times.

While

Mirza

Hasan

often followed

his

predecessor and master in his choice of topics, his most obvious individual stylistic characteristic 1s the peculiar stiff way in which he illustrates drapery (fig. 64). On grounds of this stylistic criterion alone, a few more of the works surveyed in this study may be attributed to him. 12727 1855 1273/1856

Tufan al-boka’ Jame‘ al-tamsil

L27D/1898 1279/1862

Tagdis Sadi

It is to be noted that Mirza Hasan never illustrated two of the standard works of Persian

literature produced in illustrated lithographed editions, namely Ferdous1’s Shah-name and Nezami’s

Khamse.

While

there was

no

further

Persian

edition

of the Shah-name

contemporary with Mirza Hasan in addition to the one already quoted as illustrated by Ostad Sattar, the Khamse was published only once in Mirza Hasan’s active period. The Khamse’s edition of 1276/1859 is illustrated by an anonymous artist who more or less copied the models provided by the previous edition of 1270/1853, the last of the three editions of this work illustrated by Mirza ‘Ali-Qoli Khu’.

3.5. Mirza Reza Tabrizi b. Mohammad-‘Ali-Khan Ashtiyani (1272/1855) Mirza Reza Tabrizi’s only contributions to the field of lithographic illustration are contained in the 1272/1855 edition of Alf lela va lela prepared in cooperation with Mirza ‘Ali-Qoli Khu’i and Mirza Hasan (fig. 48). The majority of Mirza Reza’s illustrations appear in the first part, while in the second part most of the illustrations not done by Mirza ‘Ah-Qoli Khu’ are executed by Mirza Hasan. While Mirza Hasan became a prominent artist in the field of hthographic illustration, Mirza Reza’s activity in this field appears to be restricted to this single book. Mirza Reza Tabrizi is additionally known for a unique document of the early history of photography in Iran,

ARTISTS

38

a miniature dated 1271/1854, now preserved in the Amiranshvili-Museum in Tbilisia 4? According to the explanations supplied by Yahya Zoka’, the miniature shows a photographer taken a picture of Malek Mansur-Mirza, the brother of Malek Qasem Mirza, himself the son of ‘Abbas Mirza Na’eb al-Saltane. Zoka further contends that

Mirza Reza received his education from Malek Qasem Mirza.

3.6. Mirza Hadi (1271-84/1854-67) Though Mirza Hadi’s production covers more than a decade, only three books containing his signature are known. All of these were illustrated in cooperation with other artists whose styles are at times so close to each other as to make an exact attribution of the illustrations to a specific artist impossible. In the 1271/1854 edition of Tufan al-boka’, only the first illustration is signed by Mirza ‘Ali-Qoli Khu’, while the third one bears Mirza Hadi’s signature (fig. 65); the other illustrations in this volume do not contain any signature but on stylistic grounds (based on that signed picture) may be assumed to represent Mirza Hadi’s work. In the 1274/1857 edition of Matamkade, the signatures of both contributing artists are contained in one illustration each (fig. 66); an exact identification of each artist’s contribution is not possible. All illustrations in this edition follow the models supplied in the earlier edition of 1266/1849. In the 1284/1867 edition of Vasilat al-nqat, Mirza Hadi has signed three out of eleven illustrations (fig. 67), while one illustration contains a signature reading ‘amal-e Musa b. mosannef, obviously indicating that the illustration was done by the author’s son (fig. 68).

3.7. Mirza Seifallah al-Kh’ansari (1272—80/1855-63) The fragmentary and thus undatable edition of Javaher al-‘oqul constitutes a rare case of an artist mentioning his name in a place other than within an illustration. Here, it is supplied on the first text page right above the illuminated heading. Besides its unusual position, this mscription also gives the unusually explicit reading mosavver-e in ketab Seifallah al-Kh’ansan, so that the artist claims responsibility for the illustrations in the whole book. Mirza Seifallah is a rare early example of an artist also working as a scribe (in the 1275/1858) edition of Naz va Neyaz). In terms of style, Mirza Seifallah’s production can hardly be distinguished from that of both Mirza Hasan and Mirza Hadi, with whom he cooperated in illustrating several works (figs. 66, 69). undated undated

112

Javther al-‘ogul Tufan al-bok@’

Zoka’, Y. 1376/1997. Tarikh-e ‘akkasi dar Iran. Teheran: Sherkat-e entesharat-e ‘elmi va farhangi:3.

ARTISTS

272 7 4850s 57 D273=/47185650 7 1274/1857 1274/1857

Sa‘di (+ Mirza Hasan) Eskandar-name (+ Mirza Hasan) Asrar al-shahada Matamkade (+ Mirza Hadi)

1280/1863 ca.

Hosein-e Kord

39

3.8. Bahram Kermanshah4ni (1280/1863) Bahram Kermanshahani was one of Naser al-Din Shah’s court painters and is credited with maintaining a studio in the Majyma‘ Dar al-sanaye‘. According to Karimzadeh

Tabrizi,''? Bahram Kermanshahani probably studied European painting during his travels to Russia. His dated production covers the period 1274-1304/1857-86. Two of the artist’s paintings have recently been reproduced.'" The 1280/1863 edition of Tohfat al-zakenn illustrated by Bahram Kermanshahani remains the only edition of this work ever published. The illustrations reveal a strong European influence, particularly in the artist’s efforts to apply perspective (figs. 70-71). The edition uses arare version of the double-page spread in that five pictures illustrating battle scenes cover two large folio pages facing each other. Three of these illustrations were obviously done on two distinct sheets each, since they are separated by a blank space in the middle and their images do not fit together exactly (figs. 72-73). Two of them, however, appear to have been prepared on single sheets of paper, and must accordingly have been printed from a single lithographic stone. The larger one of these illustrations measures some 42.5 x 35 cm and is the largest lithographic illustration known from Iran (fig. 74).

3.9. ‘Abd al-Muttalib (1282/1865)

‘Abd al-Muttalib, |” son of Mirza Hosein Esfahani, belonged to a group of students sent to study in France in 1275/1858. His career after his return to Iran is mostly linked to the institution of the post office, in which he had various assignments for a number of years (1295-1317/1878—99). ‘Abd al-Muttalib, also known as Mir Muttalib, Muttalib-

Khan and Mirza ‘Abd al-Muttalib-K han Mostashar, died (probably from poisoning) on Jomada I 19, 1321 (corresponding to August 13, 1903). Even though still of a junior status at the time, ‘Abd al-Muttalib appears to have been the leading artist in the 1282/1865 illustrated Iranian editio princeps of Nasrallah Monshi’s version of Kalile va Demne. The edition was prepared in cooperation with Mirza Ja‘far (3.10) and

13

Karimzade Tabrizi 1985—91:vol. 1, no. 182.

14

Diba/Ekhtiar 1999:244-248, nos. 75, 77.

1S

Karimzade Tabrizi 1985—91:vol. 1, no. 599.

ARTISTS

40

Mohammad Bager-Khan with altogether 14 of the total of 26 illustrations done by ‘Abd al-Muttalib (fig. 75). While the illustrations in this edition set the model for all later editions, they remained ‘Abd al-Muttalib’s only venture into the field of lithographic illustration. His other known art work is in oil painting.

3.10. Mirza Ja‘far (1282/1865) Karimzade Tabrizi contends that Mirza Ja‘far was a student of Sani‘ al-molk at the Dar al-fonun and later served as a professor at that institution, having acquired the name of

Mohammad-Ja‘far Khan.''® The dated evidence quoted covers the years 1281—1304/ 1864-1886. While Mirza Ja‘far himself in 1281/1864 signed as a student (shagerd) at the Dar al-fonun, his signature on a portrait of Naser al-Din Shah dated 1292/1875 reads tarbiyat yafte, implying that his studies were finished. Mirza Ja‘far prepared six of the lithographic illustrations contained in the 1282/1865 edition of Kahle va Demne (fig. 76), working jointly with Mohammad Bager-Khan and ‘Abd al-Muttalib.

3.11. Nasrallah-Khan Kh*ansari (1286-1300/ 1869-82) Nasrallah-Khan Kh’ansari is a minor artist of the later Naseri period (fig. 77). While his illustrations are frequently encountered in the standard repertoire of illustrated books, he also illustrated the 1286-1303/ 1869-85 edition of Jam-egitinama. An obvious characteristic of Nasrallah-Khan Kh’ansari’s style is his difficulty in handling the proportions of the human body, particularly the face. The background of his landscapes and interiors is often heavily loaded with dots, lines, or other means of avoiding empty space. undated 1286-1303/1869-85

Tufan al-boka’ Jaim-e gitinama

1297/1879

Qesas al-anbeya?

1298/1880 1300/1882

Khosrou-e divzad Mokhtar-name

3.12. Mirza Nasrallah (1289-1316/1872-98) Mirza Nasrallah, an artist exclusively known for his lithographic illustrations, was active for almost three decades.'”’ In his earlier period, he cooperated in the preparation of the 116

Karimzade Tabrizi 1985-91:vol. 1, no. 226. Karimzade Tabrizi 1985—91:vol. 3, no. 1393 (erroneously refers to a 1310/1892 edition of Hamle-ye Heidari). 117

ARTISTS

41

1299-1300/ 1881-82 edition of Nezami’s Khamse, the majority of whose illustrations are signed by Mostafa. Unlike the latter artist, who is strongly influenced by European models, Mirza Nasrallah remained faithful to traditional modes of representation while preserving a lucid and highly attractive style (fig. 78). Since Mirza Nasrallah’s illustrations may be assumed to depict contemporary material culture, it is worth noting that they document a change in dress codes, involving a slightly lower sort of felt hat (fig. 79). 1289-93/ 1872576

Alf leila va leila (+ ‘Abd al-Hosein al-Khvansari)

1299-1301/1881-83

Khamse-ye Nezami (+ Mostafa)

1301—04/ 1883-86 1304/1886 1307/1889 1310/1892 11/1 B96—-9 7 Peo) Lis 1316/1898

}

Sadi Kalile va Demne (+ Nabi Qajar) Alf leila va leila Eftekhar-name-ye Heidan ‘ — Kalile va Demne Ganjine-ye asrar E’skandar-name

3.13. ‘Abd al-Hosein al-Khvansari (1289-1316/1872—98) ‘Abd al-Hosein al-Khvansar1 1s a fairly typical representative of the large group of later artists whose major characteristic is the neglect of detail in favor of a large output. In terms of repertoire, his own contributions to the field of lithographic illustration often follow models taken from earlier editions while reducing the quantity of illustrations per volume. His early work is characterized by clear lines executed in a somewhat clumsy manner, and his style is hardly distinguishable from that of other contemporary artists. His later work, such as the numerous illustrations included in the 1316/1898 edition of the Shah-name-ye Ferdousi, is highly individual, in terms of both style and representation (fig. 80). While his collaborator in the latter edition, Kerbela’1 Hasan Naqq@sh, minutely copied the illustrations of the Shah-name’s 1307/1889 edition as done by Mostafa (fig. 81), ‘Abd al-Hosein al-Khvansari deviated from the traditional way of illustration in developing a less stylized and more realistic way of expression. The heavy shadings and numerous auxiliary lines employed to fill empty space underline the experimental character of his style. ‘Abd al-Hosein al-Khvansari’s love for experiment also shows in the fact that he 1s the only artist in lithographic illustration known to have signed his name in Latin writing (fig. 82). 1289-93/1872-76

Alf leila va leila (+ Mirza Nasrallah)

1291/1874

Lata’efvazara’ef '\*

1292/1875 1294-96/1877-78

Asrar al-shahada Tufan al-boka’

8

Robinson 1979:70 (not seen).

ARTISTS

42 1298/1880 1316/1898

Anvar-e Soheut Shah-name-ye Ferdousi (+ Kerbela’i Hasan Naqqash)

3.14. Mostafa (1299-1311/1881—93) Mostafa is the most original artist of the second half of the Naseri period.’”” To date, he

has been known primarily for his lacquerwork on penboxes. Even though in his early work he cooperated with the traditional artist Mirza Nasrallah, Mostafa developed a

characteristic style shared by no other artist active in lithographic illustration. Displaying a strong European influence, Mostafa attempts to apply true perspective while rendering bodies in a three-dimensional way. This style often succeeds in having the characters act within their surroundings rather than against a two-dimensional background as was common in the traditional style. Mostafa’s most impressive work includes his contributions to the 1307/1889 edition of Ferdowsi’s Shah-name (fig. 83). His illustrations to the 1307/1889 edition of the Chahar fasl-i Meikade comprise some daring representations of an explicitly sexual nature (fig. 84). Mostafa also practiced a peculiar way of illustrating chapter headings. While earlier chapter headings had tended to be of a graphic and geometric character, Mostafa introduced numerous elements derived from European or orientalist imagery, such as winged putti or human figures in Egyptian dress (fig. 85). 1299-1301/1881—83 1306/1888

Khamse-ye Nezami (+ Mirza Nasrallah) Lalerokh

1306-07/ 1888-89 1307/1889 1307/1889 1308/1890 1309/1891

Masnavi Chahar fasl-e Metkade Shah-name-ye Ferdoust Habib al-ousaf Masnavi-ye atfal

1311/1893

Falak-naz [va] Khorshid-Afarin'*®

3.15. ‘Ali-Khan (1298-1332/1880-1913) ‘Ali-Khan illustrated numerous copies of cheap narrative literature. He also participated in a late masterpiece of lithographic illustration, the 1319-22/1901-04 “Bahaduri” edition of the Shah-name (fig. 50.3). Particularly in his later work, ‘Ali-Khan practiced a clear style whose hallmark is the reduction of shading, background filling and other details to an absolute minimum (figs. 86, 112.6, 128.1)

119

129

Karimzade Tabrizi 1985-91:vol. 3, no. 1219.

Shcheglova 1989:no. 497 (not seen).

ARTISTS undated

Salim-e Favahen

1298/1880 1301/1883

Hamle-ye Heidari'?" Anvar al-shahada

1301/1883

Qaza va qadar

1312/1894

Hamle-ye Heidariye

Wad hon 1894597 1314/1896

Alf lea va leila Tankh-e Kelzele-ye Quchan

1315/1897

Dozd va qazi-ye Baghdad

1317-18/ 1899-1900 1318/1900 1321/1903 1319-22/1901-04 1321-—22/1903-04 1322/1904 1532/8913

Hezar dastan (+ Javad) Rostam-name Jame al-tamsil Shah-name-ye Ferdoust (+ Mohammad-Kazem, Hosein-‘Ali) Khosrou-e dwzad Amar Arsalan Chehel Tutt

_

43

3.16. Nabi Qajar (1304/1886) According to Karimzadeh Tabrizi,'!” Nabi Qajar, who bore the lagab Mansur alMamialek, was a renowned oil painter of Qajar origin. The evidence available as to his output includes several portraits and a landscape painting dated between 1285/1868 and 1304/1886. Accordingly, his participation in the illustration of the 1304/1886 edition of Kalle va Demne, prepared together with Mirza Nasrallah, might represent the artist’s mature production, even though both style and representation copy the standard models (figs. 87.2, 87.4). No other work containing this artist’s lithographic illustration is known.

3.17. Javad (1316-20/1898-1902) The lithographic artist Javad might be identical to the galamdan-artist (Mohammad)

Javad noted by Karimzade Tabrizi as being a native of Esfahan.'” Javad appears to be an artist without a particular style of his own, apparently preferring to imitate the styles of other artists. In the 1316/1898 edition of Nezami’s Khamse, he closely follows the previous edition of 1299-1301/1881-83 illustrated by Mostafa and Mirza Nasrallah, with the notable change of introducing the historical crowns of the Sasanian rulers instead of imitating the imaginary headgear which previous illustrators had depicted

(fig. 88). Details about the Sasanian crowns had already become known by means of

121

Fazel Hashemi 1998:no. 93 (not seen).

122 123

Karimzade Tabrizi 1985—91:vol. 3, no. 1388. Karimzade Tabrizi 1985-91:vol. 1, no. 239.

44

ARTISTS

Vame-ye Khosravan (1285-88/ 1868-71) and had Jalal-al-Din-Mirza’s such publications as shortly before been published again in Forsat-e Shirazi’s widely appreciated study Asar-e ‘gam (Bombay 1314/1896). Javad’s innovation was copied (by an Indian illustrator called Haji Khan) in the 1328/1910 Bombay edition of the same work, the only illustrated edition of Nezami’s Khamse to appear in India. Apart from this detail, Javad’s style is closely similar to that of ‘Ali-Khan inasmuch as he practices a comparable reductionist manner of line drawing (fig. 89). 1316/1898 1317=18/1899=1 900 1320/1902

Khamse-ye Nezam Hezar dastan (+ ‘Ali-Khan) Alf leila va leila (+ Hosein-‘Ali)

3.18. Hosein-‘Ali b. ‘Abdallah-Khan (1317-23/71899-1905) Hosein-‘Ali might have been a student of Mirza Nasrallah, since the initial nine illustrations in the 1317/1899 edition of Amur Arsalan are executed in a clear style reminiscent of the latter artist (fig. 46). Hosein-‘Ali’s style, on the other hand, is slightly disproportionate and often loaded with details in an attempt to fill vacant space. His contributions to the Shah-name-ye Bahadon (figs. 30.5, 50.2), on the other hand, are clear and well-structured. 13:1,7/ 1899 1320/1902 1319-22/1901—04

Amir Arsalan ° Alf leila va lela (Javad) Shah-name-ye Ferdoust (+ ‘Ali-Khan, Mohammad-Kazem)

3.19. Mohammad-Kazem al-Hamadani (1319-23/1901-05) Mohammad-Kazem al-Hamadani participated, together with ‘Ali-Khan and Hosein‘Ali, in the illustration of the 1319-22/1901—04 “Bahadori” edition of Ferdousi’s Shahname (fig. 50.1). He is probably identical with the Mohammad-Kazem who is mentioned by Karimzadeh

Tabrizi as the son of Mohammad-‘Ali

Soltan al-Kottab, a famous

calligrapher and illuminator active in the reign of the last Qajar ruler Aymad Shah (1327-43/1909-24).'** In addition to his participation in the lithographed Shah-name, Mohammad-Kazem also signed two single-leaf illustrations representing scenes from

the martyrdom of Hosein at Kerbela’ (fig. 90).'*? Unfortunately, no details about these

illustrations, nor their present whereabouts are known. The sole available reproduction of these works is sized ca. 15.5 x 12 cm and appears to be much smaller than their

124

Karimzade Tabrizi 1985—91:vol. 3, no. 1128.

®

Vinchon,J.1925. “L’imagerie populaire persane.” Revue des arts asiatiques 2,4:3-9.

ARTISTS

45

original size. The illustrations are dated 1322/1904 and 1323/1905, respectively, and were most likely printed by way of lithography. While the artist’s role is clearly outlined by the standard formula vagm-e kamtarin ..., the scribe Mirza ‘Ali-Akbar “Eshqi signed with the formula be-tarrahi-ye ... ehtemam pazioft on one of the leaves. The same scribe is known to have written the 1321/1903 edition of Jame‘ al-tamsil and several other works

dated 1321—22/1903-04.'*° While on one of the leaves the publisher’s name is blurred, on the other it is connected to the standard formula be-hasb al-farmude-ye and clearly reads Aqa Sheikh ‘Ali. This person might be identical with the editor of both the 1315/1897 edition of Ganjine-ye asrar and the 1328-29/1910-11 edition of the Ketab-e Judi. His full name in the former edition is given as Aqa Sheikh ‘Ali b. Aga Sheikh ‘Abd al-Hosein Tehrani. It is interesting to note, moreover, that the leaves each contain a pious formula. While one of these reads be-yadegar-e Mirza ‘Ah-Akbar, the other explicitly claims to be intended as a pious souvenir for friends (beyehat-e yad-dasht-e jan-e ... tahrir shod). It may be surmised that both leaves constitute rare representatives of a pious activity involving the preparation of religious pictures which were subsequently donated to pilgrims at such places of worship as Kerbela or Mashhad.

3.20. Seiyed al-Sho‘ara (1320-24/ 1902-06) Besides this artist’s undated work in watercolor and oil painting, the only dated work that Karimzade Tabrizi'’’ attributes to him are his illustrations in the lithographed 1320-—24/1902-06 Mashhad edition of Bahr al-fava’ed (of which the ‘Ein al-vagaye', quoted by Karimzade Tabrizi, constitutes only one part). ‘Though this historical work is not exactly within the focus of the present study, it is considered here since its illustrations neither attempt to render actual likelinesses nor to imitate European style. Instead, they are executed in the traditional style used for rendering battle scenes, whether these are fictional, historical or contemporary. Moreover, the illustrations supplied by Setyed al-Sho‘ara’ reveal an exceptional sense for a well-balanced representation of complicated structures, culminating in the almost symmetrical layout of battle scenes (fig. 91). Altogether, the artist is a true master of lithographic illustration in a period dominated by mass production of a rather moderate quality.

3.21. Mohsen ‘Taj-Bakhsh (1342-60/ 1923-41) Mohsen T4aj-Bakhsh along with Mohammad Sane‘ Kh*ansari, to be mentioned in the following paragraph, was a highly productive artist in lithographic illustrations in the craft’s final period (fig. 92). The period of his activity extends over almost two centuries.

126 127

Shcheglova 1979:nos. 1517, 1571, 1627, 1676. Karimzade Tabrizi 1985—91:vol. 1, no. 440.

46

ARTISTS

Since this period has not been documented exhaustively in the present study, the earliest and the latest datable items in the below listing have been added from additional sources. The artist’s actual production is bound to be much larger than the few works quoted below suggest. undated

Tufan al-boka’

1342/1923

Ketab-e Fudi'”*

1348/1929

Hosein-e Kord

1354/1935 13045067 1935-37

Amu Arsalan Eskandar-néme (+ Mohammad SAane'‘l)

1354/1935

Nush-Afarin

1360/1941

Khavar-name'”*

3.22. Mohammad Sane‘ b. Fathallah Kh’ansari (1350-66/ 193 1-46) Mohammad Sane‘ Kh’ansari practiced his profession during the final period of lithographic illustration — and in fact of lithography in general — in Iran. His style is simple and clear and, similar to that of his predecessors, without any particularly distinguishing features. Mohammad Sane‘ at times acted as both scribe and illustrator (Eskandar-name 1354—-56/ 1935-37; Tufan al-boka’ 1366/1946). While he is credited with practicing the art of so-called “coffee-house painting” (nagqgdashi-ye qahve-khane) as a student of the famous master Hosein Quller-Aqasi (died 1345/1926),’°° Mohammad Sane'l is said to have earned his living by engraving figures and calligraphy on gravestones in his later years. The transitional character of Mohammad Sane'’s period becomes evident from the fact that some of his work was published in the very last lithographic editions of the relevant works. The 1357/1938 edition of the Eskandar-name was followed by an edition in 1327 sh./1948 printed from movable type. Similarly, the 1356/1937 edition of Shiruye was followed by an edition printed from movable type in 1326 sh./1947. The final item mentioned in the list below documents the end of lithographic illustration in Iran (fig. 93.2). No relevant items are known to have been produced in subsequent years, when typography and new modes of illustration took over. 1350/1931

Amir Arsalan'®!

1352/1933

Hormoz va Gol

1354-567 1935=37, 1356/4937

Eskandar-name (+ Mohsen Taj-Bakhsh) Shiruye

28 % °

'"!

Fazel Hashemi 1998:no. 196 (not seen). Fazel Hashemi 1998:no. 100 (not seen). Karimzadeh Tabrizi 1985-91 :vol. 2, p. 540; Seif 1980:65.

Fazel Hashemi 1998:no. 29 (not seen).

ARTISTS oar? 1938 1366/1946

47

Eskandar-name (+ Hosein Qaragozlu’1) Tufan al-boka’

3.23. Other Artists

Artists for whom less than three items have been documented in the sources surveyed for this study and for whom no particulars or additional information could be extracted from secondary literature are surveyed below. ‘Abd al-Mohammad b. Molla Hadi Kh’ansari 1280/1863 Taqdis

Abu ]-Qasem Shirazi 1275/1858 ‘Ah-Reza 132771909 NSS TOT2

Khavar-name (+ Mirza Hasan Khorasani) Kalile va Demne Akhlag-e Mohsen

Hasan Tabrizi

1279/1862

Rostam-name

Hosein Kh’ansari

1283/1866 Hosein Qaragozluw1 1357/1938 Kerbela’1 Hasan Naqqdsh 1309-10/1891—92 1316/1898

Asrar al-shahada E'skandar-name (+ Mohammad

SAne‘l)

Eskandar-name (+ Mohammad Baqer) Shah-name-ye Ferdousi (+ ‘Abd al-Hosein)

Khodadad 1305/1887 Mahdi-Khan 13287 1910

Khavass al-hayavan

Yusofiyye

Mahmud

S47 LOLS

Alf lela va lela

Mashhadi ‘Abd al-Hosein Shirazi 1283-84/ 1866-67 Eskandar-name

(+ Mirza Heidar-‘Ah Shirazi, Mirza Musa, Mohammad-Taqi al-Kh*ansar1)

Mir Mohsen 127371856 1288/1871 Mirza Hasan Khordasani 1275/1858 Mirza Heidar ‘Ali Shirazi 1 283-84/ 1866-67

132

Tohfat al-Majales\*? Tarikh-e Naden

Khivar-name (+ Abu |-Qasem Shirazi) Eskandar-name (+ Mirza Musa, Mohammad-Taqi al-Kh’ansan, Mashhadi ‘Abd al-Hosein Shirazi)

Fazel Hashemi 1998:no. 66 (not seen).

48

ARTISTS 1284/1867

Mokhtar-name

Mirza Hosein-‘Ali-Khan Mosavver

1329/1911

Akhlag-e asasi

Mirza Mohammad-Esm4‘l Tabriz

1274/1857 Mirza Musa

1283-84/ 1866-67

Maales al-mottaqin

Eskandar-name (+ Mirza Heidar-‘Ali Shirazi, Mohammad-Taqi al-Kh’ansari, Mashhadi ‘Abd al-Hosein Shirazi)

Mohammad

1291/1874

Hosein-e Kord

1301/1883

Montakhab al-hekayat

Mohammad-‘Ahi b. Zein al-‘Abedin al-Kh’ansari 1320/1902 Laah Mohammad-Baqer

[3095107 1891-92 Mohammad-Bager-Khan 1282/1865

Eskandar-name (+ Kerbela1 Hasan)

Kalile va Demne (+ Mirza Ja‘far, ‘Abd al-Muttalib)

Mohammad-Ebrahim Tabrizi

1295/1878 Shah-name (in prose) Mohammad-Taqi al-Kh’ansari 1283-84/ 1866-67 Eskandar-name (+ Mirza Heidar-‘Ali Shirazi, Mirza Musa, Mashhadi ‘Abd al-Hosein Shirazi) Mortaza al-Hoseini 1300/1882

Khavar va Bakhtar

4. PECULIARITIES OF LITHOGRAPHIC ILLUSTRATION Lithographic illustration undoubtedly shares numerous characteristics with other contemporary forms of illustration, above all with the arts of figural tile-work and oilpainting on canvas. Moreover, a thorough comparison with the techniques and repertoires of previous and contemporary manuscript illustration is needed to understand the historical development and to identify the sources by which lithographic artists were inspired. Such an enterprise is beyond the scope of the present study, and thus the following remarks are intended merely to outline some of the most obvious peculiarities in lithographic illustration, both technical and iconographical. Some of these have close links with book painting.

4.1. Technical Aspects 4.1.1. Substitute Ilustranons. The most peculiar and distinctive of all characteristics of hthographic illustration 1s the fact that, potentially, each lithographed book — or, to be more specific technically, each copy of a particular edition of a given work — might well be unique in the literal sense of the word. Each completed book might contain one or more pages that are preserved only in this particular item. Lithographed books were produced in quantities of probably up to 400 copies, but most specimens preserved today survive in a very limited number of copies. Accordingly, even though any distinctive element might originally have been specific to a number of copies in a given edition, it is unlikely that more than very few of the limited number of extant copies will have preserved that very element. Whereas each manuscript is by definition unique, printing from movable type permitted the publication of several thousand copies of a given text In virtually identical form. Lithography was somewhere in between. Lithographed editions were limited from the outset, since the chemical process applied to the lithographic stone in order to permit the printing of a previously fixed image would gradually wear out. As there was no way of renewing its effect, the image would have to be transferred afresh onto the stone. However, in the process of transfer printing practiced in Iran, the original image on paper could only be used for the first printing and was no longer available. Hence, a new original would have to be prepared. This being the perfectly natural course of lithographic printing, each edition consequently differs from any other one. The fragile nature of the printing equipment could at times even produce variation within a given edition. Though the slabs of stone employed for lithographic printing measure several centimeters thick and are quite solid, they might occasionally break during the process of printing, whether owing to their inherently medium quality, to the application an excessive pressure, or simply because they fell on the ground. If such

PECULIARITIES

50

an accident happened before a specific edition was completely finished, publishers were faced with having to find an adequate substitute for the broken plate. If the damage was not too severe, they might have decided to fix a broken plate as adequately as possible and continue printing, as is suggested by an illustration in the 127 1/1854 edition of Qa’ani’s Parishan-name, which clearly shows a crack right across the printed page (fig. 94). On the other hand, the decision might also have gone the other way, a new original of the missing page being ordered. Presumably, this happened to a considerable number of pages, particularly in the early years of lithography when the printers were still not very experienced. For the present purpose, only pages containing illustrations have been investigated. A comparison of various copies of specific works reveals that, while the text of the relevant pages is more or less identical in wording and layout, the illustrations on those pages sometimes differ. One example of illustrations replacing previous ones that were no longer available for reproduction is given by two copies of the 1265-67/1848-50 edition of Ferdousi’s Shah-name. These are preserved in the British Library’’’ and in a private collection respectively. In the very place where all other copies examined contain the scene ‘Rostam kills Ashkabus’, these particular copies depict the scene ‘Bizhan kills Nastihan’; accordingly, the former illustration is given in the latter’s place (fig. 95). A simple switching of illustrations without any further variation might easily result from a lack of care during the process of printing. The two illustrations concerned, however, show a certain variation from those that correspond to them in other copies, although this variation is confined to minor details only. Stylistic criteria suggest that both sets of illustrations were executed by Mirza ‘Ali-Qoli Khu’, the artist illustrating the complete edition. Even though a chronological sequence between the two variant copies is bound to exist, there 1s no clue as to which variation is the earlier one. The available

evidence suggests that the majority of copies preserved reflects the majority of copies actually produced. Even this conclusion, however, might eventually have to be reconsidered, since the total amount of preserved copies constitutes only a minute fraction of those produced, and statistically, “variant” copies migth have been subjected to a greater loss than the “original” ones. A similar, though more complex, case is presented by various copies of the 1264/1847 edition of Nezami’s Khamse, particularly the copy preserved in the Teheran National Library and one of the two copies preserved in the Berlin Staatsbibliothek. The ‘Teheran copy of this edition is a particularly interesting case. While both text and illustration from the second chapter (Khosrou va Shirin) onwards more or less correspond to each other, the first chapter (Asrar-name) contains three illustrations which are different from all other known copies in their specific execution (fig. 96). As a matter of fact, the layout of the whole chapter is different, suggesting that — while both versions are signed by the scribe ‘Ali-Asghar Tafreshi ~ this particular chapter has been prepared in two separate editions. The reasons for this phenomenon are mysterious, and most of 183

LBL 757.1.4. = Edwards

1922:col. 249.

PECULIARITIES

aa

the suggestions presently available— such as a trial print run or a separate sale of the first chapter — appear unsatisfactory. The Berlin copy mentioned, on the other hand, is a typical representative of the theory outlined above. A total of 19 pages differ from the second Berlin copy both in calligraphic execution and in illustration, including the miniature images contained in the small triangles on the outer margins and encompassing one of the larger illustrations of the Hafi peikar (fig. 97). In both cases, as in the instance of the variant Shah-name, the original artist (Mirza ‘Ah-Qoli Khu’l) was responsible for the work, since the style and execution of the variant illustrations are identical. Yet another consequence of broken plates can be witnessed in various copies of the 1261/1845 edition of Anvar-e Sohail. Here, most of the copies examined at the very first

picture, illustrating the scene “The fox and the drum’”,'** show an illustration that, in relation to most pictures contained in this edition, is executed in a comparatively crude manner suggesting that the illustration was copied. Only one of the two copies in the

British Library’ and the single copy in the Tabriz National Library show the same thematic illustration executed in a style corresponding to that of most of the other ones (figs. 98.1—2). In the case of the crude variation, it may be assumed that while a broken plate had to be replaced, the original artist was not available. Scribes to replace the missing text would be within easy reach; moreover, variations in their style of writing would hardly be recognizable. But the person needed to replace the damaged illustration might have been harder to find. While sometimes, this person would have been of different standing and qualifications, in the particular case under consideration, probably the scribe himself crudely imitated the original illustration contained in the previously printed copies. It is hard to determine how often such cases occurred, since many of them might be hard to identify. ‘The higher the quality of the second artist — or, particularly referring to the later years of lithographic illustration, the more moderate the quality of the first artist — the less any difference from the dominant style practiced within a certain book would be evident. A further difficulty in identifying substitute illustrations lies in the absence of points of comparison. In other words, at least one copy of a relevant book containing the original illustration is needed in order to be able to identify a substitute. An instance similar to the one presented above is to be found in the 1267/1850 edition of the Akhbar-name (fig. 99). Here, while one lacks a distinct point of comparison in the form of an original illustration placed in the very same position, the substitute appears to be modelled after the subsequent illustration executed by the original artist. Two more substitute illustrations in the 1261/1845 edition of Anvar-e Sohail, for which none of the presently known copies contains any alternatives (figs. 98.3-4), show that different plates would break at unpredictable intervals. ‘This situation consequently implies that, potentially, a multitude of variant copies exist for any given edition.

Grube, E,J. 1990/91. “Prolegomena for a corpus publication of illustrated Kalilah wa Dimna Manuscripts”. Islamic Art 4:434 (C.4.). 134

135

LBL 14783.¢.2 = Edwards 1922:col. 274.

PECULIARITIES

OL

Substitute illustrations resulting from broken plates can have a number of consequences. They might augment a given artist’s known production. In specific cases, they might even supply clues helping to determine the chronological sequence of variant copies within a specific edition. At all events, they constitute a specific phenomenon of lithographic illustration which deserves further research. At present, the available evidence suggests that substitute illustrations are a phenomenon of particular relevance for the early period of lithographic printing in Iran, decreasing in proportion to the greater experience of printers. 4.1.2. Paste Papers. A second peculiarity of lithographic illustration to be noted 1s not exclusively germane to lithographed books. A paste paper (also called pastedown) in the context of book-binding denotes the flyleaf pasted onto the inner side of a cover to

conceal the mechanics of the binding.'*° In medieval manuscripts, these paste papers

were often taken from fragments of earlier manuscripts considered dispensable. Today,

they often constitute the sole remnants of otherwise unknown manuscripts.’*’ A closely corresponding phenomenon applies to lithographed books. Lithographed books were often kept in covers of a moderate quality that would soon become fragile. Since a new binding was costly, an easier solution was to restore a broken cover by pasting one or more leaves of books regarded as dispensable onto the cracks so as to prevent progressive damage. Unused white sheets of paper apparently were often deemed too precious to be used for this purpose, and aesthetic considerations did not rule out the use of printed paper. Accordingly, many of the inside covers of lithographed books are pasted with leaves of other lithographed books. While in most instances leaves from previous books were used, this was by no means the only option. Any later owner of an old book might have opted for repair using whatever material was regarded as dispensable. In some cases, paste papers might be taken from books printed at a later date than the one whose cover they would repair. While most of the paste papers in Persian lithographed books examined for the present study contain text only, altogether six items containing illustrations have been identified. These will now be discussed in chronological order and with reference to the book in which they are contained. (1) The Paris copy of the 1263/1846 edition of Chehel Tuti contains a leaf represenung the two final pages of the 1262/1845 edition of Dozd va qazi-ye Baghdad (fig. 100). The, case is unusual inasmuch as this is the only paste paper with a dated colophon (Rajab 17, 1262), thus clearly identifying the edition of the latter text. Other editions show illustrations similar in style and execution in a corresponding place. It is excepBinding Terms: AThesaurus for Use in Rare Book and Special Collections Cataloguing. Chicago: Association of College and Research Libraries 1988. 136

"Brown, M.P. 1994. Understanding Illuminated Manuscripts.

A Guide to Technical Terms.

London: The British Library, in association with the J. Paul Getty Museum, p. 96; JakobiMirwald, C. 1997. Buchmaleret. Ihre Terminologie in der Kunstgeschichte. Berlin: Reimer, pp. 115 (Makulatur), 117 (Spiegel).

PECULIARITIES

53

tionally lucky that in this particular case, the edition of Dozd va qazi-ye Baghdad to which the paste paper belongs could be located in the libraries of London and St. Petersburg. (2) The Tubingen copy of the 1270/1853 edition of Nezami’s Khamse contains a leaf (fig. 101) representing two pages of a fictional story elaborating the topic of oft-proved fidelity (of a woman who is forced to travel in foreign lands). Stories treating this topic might be contained in various collections. The fragmentary and undatable copy of the Javaher al-‘oqul preserved in Mashhad made it possible to identify the paste paper as belonging to that work. The style of the illustration suggests that it was executed at a comparatively early date, certainly before 1270/1853, the date of the book it is contained in, but probably even earlier. (3) The front cover of the 1267/1850 edition of Tujfan al-boka printed in movable type preserved at the Cambridge University Library’** contains a leaf representing two pages of an edition of Dozd va qazi-ye Baghdad (fig. 102). As indicated by the catchword, the text of the leafs second visible page immediately follows that of the first. According to both the text and the illustrations, altogether three, the two pages belong to the first part of the relevant story. The dating of this leaf is facilitated by two handwritten notices. One of them is situated in the vacant space between the two text pages. It refers to a pilgrimage from Mashhad via Firuzabad to Kerbela and is dated Rabi‘ I 7, 1277 (corresponding to September 23, 1860). Another notice written by a different hand on the sheet’s far left refers to an earthquake experienced “half an hour before sunrise” on Rajab 25, 1269 (corresponding to May 4, 1853). Since both notices appear to contain contemporary testimonies, the illustrations on the pasted leaf may safely be concluded to belong to an edition dated or predating the year 1269/1852. (4) The copy of the 1280/1863 edition of 7daqdis in a private collection contains a leaf representing a single page from Asrar al-shahada (fig. 103). Most editions of Asrar alshahada surveyed here contain this illustration as their final one. Although the identification of this book is beyond doubt, no clear evidence for dating it is available. On stylistic grounds, the illustration might predate 1280/1863. (5) The copy of the 1283/1866 edition of the Eskandar-name in a private collection is the only book containing two illustrated papers pasted inside the front and back covers respectively (fig. 104). Both leaves represent two pages each and, to judge by their calligraphy and illustration, clearly belong to the same work. As one page of a leaf is blank, the opposite text page is bound to belong to either the beginning or the end of

the relevant text. So far, neither the study of the text nor of the illustrations (none of which is contained in any other work surveyed) have permitted an unambiguous attribution to a specific work. Their context of early Islamic history with a distinct Shrite tendency suggests a hagiographical work such as the Khavar-name. Accordingly, the paste papers have provisionally been attributed to the latter work. (6) The Mashhad copy of the 1303/1885 edition of Javaher al-‘oqul contains a leaf representing the lower part (probably two thirds) of a single page from an as yet uni138

CUL Moh.404.a.2 (ex libris E.G. Browne).

54

PECULIARITIES

dentified work (fig. 12). The finding is quite exceptional in two respects. On the one hand, it is the only illustration encountered on paste paper bearing the artist’s signature; this clearly reads ‘amal-e Mir[za] ‘Al-Qoli Khu’. The signature makes the illustration attributable to the period 1263-72/1846-55. On the other hand, the illustration constitutes an exceptional intermediary between the techniques of lithography and printing from movable type. While Mirza ‘Ali-Qoli Khu’i is known to have supplied illustrations for various editions of Tufan al-boka’ printed from movable type, all of those illustrations were executed on separate pages, thus enabling them to be printed by way of lithography. Unlike this technique with its separate print runs, the present page is instead a unique hybrid, in that it contains on one and the same page text printed from movable type and what appears to be a lithographic illustration. ‘The attribution of this page to 7ufan al-boka’ is provisional. While the scene illustrated here is also contained in other martyrological works of the period, such as Asrar al-shahada, its attribution to Tufan al-boka’ appears to be the more promising in view of the textual structure, which combines prose and rhymed passages.

4.1.3. Censorship. A few cases of censorship in lithographic illustration mdicate that the execution of specific illustrations was not always in accordance either with the public tasted or the moral views held by the publisher responsible. Censorship as discussed here relates only to pre-publication interference. Post-publication censorship is well known from manuscript illustrations. It affects particularly the erasure of the villains’ faces, a phenomenon also frequently encountered in lithographic illustration. Prepublication censorship in lithographic illustration as it is recognizable in the items available for this study exclusively concerns explicit representations of copulation, whether involving human characters, Divs or animals. As will be discussed further below, sexuality in its explicit forms of foreplay or copulation is a frequent phenomenon not only in narrative texts but also in illustrations relating to (and often embellishing) textual passages. Three out of the numerous sexual scenes have been subjected to particular forms of censorship. The popular tale of the young man courting the beautiful daughter of the beggar-

king of Esfahan'*? leads, as would be expected, to fulfillment and consummation of the

marriage. Contrary to numerous similar passages in other romantic tales, the scene has been illustrated in explicit fashion in several editions of the proverb-collection Jame‘ al-tamsul from its editio princeps in 1269/1852 onwards (fig. 105). It is here that we can note censorship mirroring a development in moral standards. While the illustration in the first edition pictures a playful foreplay, several of the later editions have opted for the depiction of copulation itself act as the young hero’s ultimate attainment of his goal. The Jame al-tamsil’s second edition of 1273/1856 depicts the young couple halfnaked with the young woman relaxing on a large cushion and the young man just effecting penetration. Like most of the other illustrations, the scene has been more or 139

Marzolph, U. 1984. Typologie des persischen Volksmérchens. Beirut:*1525 K.

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55

less exactly copied in the following edition of 1275/1858. Here, however, the earlier artist’s explicit depiction of the young couple’s genitals has been altered and covered up before printing with crossed lines and black spots so as to make the explicit nature of the sexual act unrecognizable. The 1276/1859 edition still shows the couple in a closely similar position, but now both partners are fully dressed and the male youth 1s embracing his wife. All of the later scenes examined omit this scene altogether. The ‘Aja’eb al-makhlugat contains two narratives with an explicit sexual point whose illustration belongs to the standard repertoire of the three known illustrated lithographed editions. The first one is the story of the Indian woman surprising some Muslim merchants by being married to two different men, with each of whom she copulates either at night or during the day. The second story is the one of the ascetic who is tempted by his carnal desires (or, as the story has it, the devil) to have intercourse with a young woman entrusted to his care (and subsequently kills her out of shame). The ‘Aja’eb al-makhlugat’s first edition renders both scenes quite explicitly, both partners being half-naked and in an unmistakable position, though neither penetration nor the male member are depicted. Here again, the relevant scenes have been copied in the later editions of 1283/1866 and 1309-10/1891—92, and the relevant artists appear to have followed their models more or less faithfully (fig. 106). The editor of the edition of 1283/1866 has, however, opted for covering up the explicit part of the relevant illustrations by a process that appears to have involved either erasing or simply putting a small piece of paper on either the original illustrations or its image as it was transferred onto the lithographic stone. The edition of 1309-10/1891—92 again shows a similar development, insofar as the artist has already opted for censoring the scene himself. The ascetic is depicted as merely embracing the young woman while both characters are fully clad; and the Indian woman, while lying in exactly the same position as before, has the lower half of her body simply covered up by a blanket while no trace of the man previously engaged in intercourse 1s left. A third example is to be found in two editions of the popular narrative of Khosrou-e Dwzad.'Vhe eponymous Khosrou’s father is a Div, and while several of the illustrations to the narrative depict love-making, one illustration is particularly explicit about the Div having intercourse with the human woman who is meanwhile being criticized for her shameful behavior by her brother (fig. 107). The illustration in Khosrou-e Dwzaa’s first edition of 1264/1847 depicts the partners with the Dw fully naked and totally absorbed in action. The young woman lends the unclad lower half of her body to the Div while, at the same time, she is arguing in word and gesture with her brother who is seated to the far right of the picture. The scene has been faithfully copied in the edition of 1270/1853, presumably the book’s second edition prepared and the only one available for comparison. Here, the artist has already taken the edge off the explicit depiction of copulation, and the publisher has further alienated the scene by erasing or covering up the young woman’s upper half. As it stands now, the outspoken sexual nature of the scene 1s perfectly unrecognizable and to an uninformed reader might well look as if the naked Div was arguing with the young man.

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56

4.2. Programs of Illustration Illustration in Persian lithographed books is a phenomenon extending over a clearly limited period of time. Within the slightly more than 100 years of its continuous practice, a large amount of books were produced in numerous editions, and it appears natural that the programs of illustrations in the various editions should differ. Besides the obvious questions of which scenes were chosen for illustration in which particular manner at which textual intervals, key terms in analyzing this phenomenon relate to the concepts of consistency and variation. While keeping in mind a general evaluation of the findings, research for the present study has given particular attention to the illustrative programs of the Shah-name-ye Ferdousi, Khamse-ye Negam and Anvar-e Soheah. The most striking characteristic in the development of illustrative programs 1s their relative stability, which implies a set of illustrations consistently included. Though this evaluation generally holds true for most of the items surveyed, it has to be differentiated into two distinct groups, corresponding more or less to the commonly acknowledged works of classical Persian literature on the one hand, and popular works on the other hand. The first group tends to follow established programs of illustration throughout the whole period of production with only minor alterations, at times omitting previously illustrated scenes or introducing a few new ones. The second group also shows comparatively little variation in terms of scenes chosen for illustration, but the illustrative program gradually tends to diminish altogether. The Shah-name’s first illustrated lithographed editions were published in India in

1262/1845 and 1266/1849." It is interésting to note that the second edition by no means simply imitates the first one. Rather, while both editions generally develop a similar program of altogether 57 illustrations featuring broadly equivalent scenes or topics, they also show a distinct variation in the matter of which moment of a larger event was chosen for depiction.’ As for their source of inspiration, this variation imphes that both editions are modelled on different manuscript copies or, to be more specific, that the manuscript copies themselves belong to different traditions of illustration. ‘I'he degree to which the first lithographed editions rely on previous manuscript illustration remains to be studied. While the last Iranian edition, the so-called Shah-name-ye Bahador. (1319-22/1901—04), constitutes a specific modern case with ‘Essential reading for any discussion of illustrated copies of the Shah-name includes Simpson, M.S. 1979. The Illustration of an Epic. The Earliest Shahnama Manuscripts. New York, London: Garland; Norgren, J.,and E. Davis 1969. Preliminary Index of Shah-Nameh Illustrations. Ann Arbor; Grabar, O., and S. Blair 1980. Epic Images and Contemporary History. The Illustrations ofthe Great Mongol Shahnama. Chicago. For the specific context see Marzolph (forthcoming [b)).

‘For instance, the edition of 1262/1845 (following the numbering by Norgren and

Davis 1969) contains the illustrations nos. 199 (Keikhosrou enthroned), 382 (Esfandiyar’s sisters recognize him), and 503 (Bahram Gur hunts lions), whereas the edition of 1266/1849 in the very same sequential place contains illustrations 198 (Keika’us abdicates in favor of Keikhosrou), 384 (Esfandiyar kills Arjasb), and Bahram Gur and Azade.

PECULIARITIES

od

illustrations strongly influenced by European models, the four previous Iranian editions of the Shah-name follow traditional imagery. They fall into two distinct groups, each of which in general terms follows the narrative program of one of the two early Indian editions. When the Iranian editio princeps illustrated by Mirza ‘Ali-Qoli Khu’i was published in 1265-67/1848-50, the only model available for lithographic illustration was the Indian edition of 1262/1845. Accordingly, this is the one whose illustrative program the first Iranian edition follows, although the latter’s artistic quality is decidedly more refined. The second Iranian edition illustrated by Ostad Sattar and published in 1275/1858 could simply have copied the previous Iranian edition. Instead, the artist apparently used the same Indian edition of 1262/1845 for inspiration, as numerous details in the particular execution of the relevant scenes prove (fig. 108). Both the later Iranian editions, dated 1307/1889 and 1316/1898 respectively, follow the illustrative program of the second Indian edition of 1266/1849 insofar as they continue to illustrate the same scenes. In addition to those scenes, the edition of 1307/1889 illustrated by Mostafa introduces a number of new scenes,'*? most of which'*’ have not been illustrated in any of the previous editions, whether Iranian or Indian. Mostafa’s illustrations, in turn, served as a model for the two artists illustrating the Iranian edition of

1316/1898. The artist Kerbela’1 Hasan Naqq4sh supplied exact copies distinguishable from Mostafa’s originals only by way of the inserted new signature (fig. 81), whereas ‘Abd al-Hosein in most of the illustrations interpreted his model in a distinctive new style (fig. 80). As for the illustrative program, both editions are virtually identical, with the notable exception of one illustration belonging to the standard repertoire obviously skipped by Mostafa. Summing up, the Shah-name in lithographic illustration is a typical representative of a fixed illustrative program with very little variation. Illustrated lithographed editions of Nezami’s Khamse show a slightly more diversified

picture.'** Contrary to the Shah-name, the first edition of the Khamse was prepared in Iran, as were eight following editions. Only one Indian lithographed edition containing illustrations is known so far.'® First of all, the amount of illustrations to the Khamse shows greater variation than in the Shah-name. While the amount of illustrations to the

latter remains stable at around 60 items in all editions, illustrations to the Khamse range from 37 text-related illustrations in the editions of 1264/1847 and 1269/1852 to 50 2 Norgren and Davis 1969, nos. 32 (Tur murders Iraj), 62 (Marriage of Zal and Rudabe), 246 (Rostam lassoes Kamus), 490 (Bahram Gur at a peasant’s house), 627 (Khosrou Parviz celebrates Nouruz), 635 (Mehr Hormozd slays Khosrou Parviz, 640 (Puran-Dokht enthroned), Jamshid and the daughter of Korang-Shah, and Rostam vanquishes Borzu, son of Sohrab.

143

Norgren and Davis 1969, no. 246 (Rostam lassoes Kamus) is illustrated for the first

time in a lithographed edition in the Bombay edition of 1272/1855.

14

The classification of illustrations to the Khamse follows Dodkhudoeva, L.N. 1985. Poemy

Nezami srednevekovoy miniaturnoy zhivopist. Moscow.

48

Bombay

1910/1328,

illustrated

306.32.B.33 = Arberry 1937:246).

by Haji-Khan

and

‘Ali-Akbar-Khan

(LBL

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58

illustrations in the editions of 1299/1881 and 1352/1933. In terms of program, illustrations in the Khamse can be classified into four not always clearly distinguishable groups. The group showing the greatest consistency is the one represented in all editions. Out of 73 possible illustrations represented in at least one of the editions consulted, a total of 24 illustrations is contained in each edition (fig. 29). A second eroup comprises the illustrations contained either in both the 1264/1847 and 1269/1852 editions or only in the former one. This group comprises nine illustrations, all of which are to be found in the Khamse’s first two epics, the Asrar-ndme (fig. 96) and

Khosrou va Shirin.'“® The third consistent group is formed by two clusters that appear

either separately or together. The first cluster comprises the editions of 1270/1853, 1276/1859 and 1286/1869 (fig. 109), while the second one comprises the remaining editions. The specific edition of 1320-21/1902-03 is difficult to position insofar as its illustrative program is at times in accordance with the first group, while in many instances it omits illustrations executed in the other editions belonging to this group. Thus, the program of illustrations in the Khamse is not as fixed as in the Shah-name, while its degree of variation is at the same time still limited. Yet another distinct case of how an illustrative program can be developed is provi-

ded by the various editions of the Anvar-e Soheih.'*’ Out of the seven editions surveyed, the first three editions of 1261/1845, 1263/1846 and 1267/1850 consistently show 56 corresponding illustrations, with only two minor cases of variation in the last edition (fig. 110).'** The following editions contain a program much reduced, ranging from seven more or less identical illustrations in the editions of 1277/1860 and 1281/1864 to thirteen in the edition of 1298/1880. It is interesting to note that within this modified program, a change of repertoire has also taken place. While five out of the ten illustrations in the edition of 1274/1857 correspond to previous illustrations (fig. 111),

another five,'® the first two of which are also reproduced in the editions of 1277/1860 ‘6 ~ Illustrations in both editions comprise Dodkhudoeva 1985, nos. 24 (Nushirvan and the owls), 49 (Shirin sees Khosrou’s portrait), 56 (Khosrou and Shirin hunting), 63 (Khosrou and Shirin listen to stories), 66 (Battle with Bahram Chubin), ? (Farhad before Khosrou), ? (Quarrel with the old maid). No. 30 (the ascetic in the tavern) is contained only in the edition of 1264/1847, while no. 90 (Khosrou and Shakar) is found not only in two editions already mentioned but also in the later editions of 1276/1859 and 1320/1902.

‘7

For a classification of illustrations in works of the Kalila wa-Dimna-tradition see Grube

1990/ 91. For the specifics of illustrated lithographed editions see Marzolph (forthcoming [a]).

8

Instead of Grube 1990/91, no. K.Add.C.35.5. (the sultan about to throw his mistress

into the Tigris), the edition of 1267/1850 shows a fait accompli (the sultan having thrown his mistress into the tigress); similarly, instead of B.27.2. (on the road, the king’s son encounters three yound men), the edition of 1267/1850 shows B.26.10. (the king’s son in prison). Grube 1990/91, C.10.5. (the lion, the wolf, the jackal, and the camel), K.Add.C.17. (the three envious travellers) K.Add.C.19.3. (the camel rider saves a snake and in return is menaced), C.25.2. (the pious man and the mouse who remained true to its nature), B.25.2. (the man and his guest [who wanted to learn Hebrew]).

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and 1281/1864, have never been illustrated before. The edition of 1298/1880 relies on previously illustrated scenes, though only to a lesser degree and notably only in its

latter half,’”’ while most of the early illustrations introduce new scenes. The Anvar-e Soheh is thus a representative of the second group of works whose illustrative program, while incorporating comparatively little change, is heavily reduced in the later editions. Whereas the phenomenon here applies to a work of classical Persian literature, it is more commonly observed in the large amount of editions of popular narratives. Only a small number of frequently produced works, of which the Kolleyat-e Sa‘di is the most prominent representative, never developed a standard program of illustrations. ‘Typical examples of standard illustrative programs with almost no change whatsoever in the choice of topic illustrated, the number of illustrations included and the execution of the relevant illustration include the ‘Aja’eb al-makhluqat, Kalle va Demne (fig. 87), Hamle-ye Hadanye (fig. 112), and Alfleia va lela (fig. 113). The illustrative program in the majority of works was, however, subjected to change, almost always resulting in the reduction of sets of illustrations. While this evaluation corresponds to the declining artistic quality of later lithographed books, both phenomena obviously resulted from rising costs of production in the face of a decreasing aristocratic clientele. The modest illustrative program of the editions prepared after the end of Qajar rule bespeaks the popular character of the relevant works; they had been prepared with comparatively little effort and were aiming at a large readership willing to spend only small amounts of money for entertaining reading-matter. In short, quantity eventually replaced quality.

4.3. Iconographical Aspects In order to supply as much data for future research as possible within the limits of a single publication, the concluding survey — on a cursory basis — presents a classified collection of illustrations deserving further attention. 4.3.1. Recurrent Topics. Over and above the illustrations which relate to specific textual passages, a number of illustrations reproduce identical topics that are to be found in a variety of different works. The identical character of these items arises primarily from the fact that they illustrate broadly similar texts. Accordingly, both text and illustration can be taken as demonstrating the appreciation of Qayar readers for certain topics. Resulting from their stereotypical imagery, illustrations of recurrent topics constitute visual icons whose factual background and symbolical content is automatically recognizable to the informed reader. While they include static representations such as

150

Grube K.Add.C. 26.2. (the prince makes advances to the old farmer’s young wife) has

already been rendered in the editions of 1277/1860 and 1281/1864. illustrations in this edition are contained in all of the previous editions.

The

three

final

60

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Solomon enthroned (figs. 114-115), most of the relevant illustrations enshrine a narrative, whether this is the coming of Antichrist dayal; figs. 116, 23.4, 39.8), the tragic love of Leili va Majnun (figs. 6, 14.3-4, 18.3, 36.10, 56.3, 84.6, 109.1-3), Abraham about to sacrifice his son (fig. 117), the infant ‘Ali in the cradle splitting a dragon’s mouth in two (figs. 13.4, 118), or the scene in which “Ali fights Marhab-e Kheibari while the angels have to guide his hand so as to protect the earth from the impact of his deadly blow (figs. 9-11, 38.2, 77.2, 119). Thus, recurrent topics with their codified imagery

constitute powerful vehicles for transporting the narratives enshrined. Incidentally, ‘Ah (the Persian religious hero) is the only character besides Rostam (the Persian national hero) who, owing to iconographical peculiarities, allows for an easy and unambiguous identification. ‘Ali, particularly when in combat, can be identified by the peculiar split blade of his sword Zu l-feqar, and Rostam is recognizable through his peculiar helmet, variously imagined as made either from panther-skin or from the skull of the Diw-e sefid he has killed. While most illustrators are aware of the change in Rostam’s heraldic signifier after he has killed the Dw-e sefid, the popular notion of his curious helmet (sometimes also pictured as a panther’s head) was obviously strong enough to encourage some illustrators to make him wear the Div-headed helmet even before he has killed, or even while he is just killing the Dwz-e sefd (fig. 120; cf. figs. 80.1, 83.2). Lithographic illustration also offers a wide range of representations of characters belonging to the world beyond, whether various kinds of Divs (figs. 15.5, 15.11, 43, 46.3, 80.1, Bh. 3=490 LOT sdd4gel 15) 121-124) -dragonss(figserlAye 1625393 9:39 eel eee 125-1 26),,angels-(figss.9-1.14,15,.10;.17 A, 38. la2Llow LNT) POM ea oe: other fabulous creatures, such as the strap-legged old man of the sea (figs. 16.4, 62), the steed Buraq during the prophet Muhammad’s heavenly journey (figs. 17.1, 128) or the giant bird Rokhkh (fig. 129)."°!

4.3.2. Stereotypes. Lithographic illustration, with its enormous range of single items, constitutes a promising field for studying details of iconographical representation. While the various forms of haloes used for venerated persons (see, e.g., figs. 9-11, 17, 37-39, 47, 57, 66-68, 78, 130) have been discussed in previous research,’ lithographic illustration supplies standard iconographical evidence for such stereotypes as beauty and ugliness (fig. 55) or sexual pleasure (figs. 106-107, 131). Of particular

interest 1s the depiction of emotional states such as agony and suffering (figs. 57, 132), grief and mourning (figs. 14.4—5, 26.1,3,5, 50.1, 78.2, 84.6, 108, 109.1,3,5, 133) or the

specific Persian gesture called angosht-e tahayyor representing surprise, amazement and perplexity, when the index finger of the right hand is held against the lips (fig. 56).

Baer, E. 1965. Sphinxes and Harpies in Medieval Islamic Art. Jerusalem: Hebrew University; Titley, N.M. 1981. Dragons in Persian, Mughal and Turkish Art. London; Curatola, G. 1989. Draght. Venice; Folsach, K. von 1991. Fabelvaesener fra Islams Verden. Copenhagen: Davids onlay Gierlichs, J. 1993. Drache, Phénix, Doppeladler. Fabelwesen in der islamischen Kunst. Berlin. Milstein, R. 1986. “Light, fire, and sun in Islamic painting.” Studies in Islamic EMstory and 151

Ciwihization in Honour of Prof: David Ayalon. ed. M. Sharon. Jerusalem, pp. 533-552.

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4.3.3. Depiction ofMaterial Culture. A number of earlier studies have considered manuscript illustrations as a source of information about contemporary material culture.'”° For the majority of periods gone by, the relative authenticity of the depictions in manuscript illustrations can only be checked against the existing artifacts, but their state of preservation is often fragmentary in comparison to their original variety. In contradistinction to manuscript illustration, lithographic illustration was practiced in a period in which photography had been introduced to Iran, and this meant a possibility to faithfully depict reality.'’°* The means of comparison thus available between illustration and reality are thus more extensive than ever before. Amir-Hosein Aqapur in

his recent thesis!” has brilliantly demonstrated how faithfully lithographic illustration of the Qajar period depicts contemporary reality. His detailed study compares lithographic illustration and photographic evidence in the fields of (1) clothing, (2) residence and housing, (3) light and lamps, (4) food, drinks, smoking, kitchen utensils and eating habits, (5) musical instruments, songs and dance, (6) sleeping habits and beds, (7) transportation systems, (8) various occupations, (9) funerals and graves, (10) armed forces and weapons, (11) mosques and religious ceremonies. The author concludes that the elements of material culture depicted in lithographic illustrations correspond to the contemporary artist’s cultural life in the period of Naser al-Din Shah’s reign, thereby supplying important data beyond those accessible by other means, whether these are artifacts or written documents. The choice of representations relating to the material culture of the Qajar period reproduced here, mostly from the work of Mirza ‘Ali-Qoli Khu’i (figs. 134-145), presents no more than a minute fraction of the data available by way of lithographic illustration. 4.3.4. Illustrations Unrelated to the Text. Finally, a small number of illustrations has to be mentioned that are executed in the traditional style while not illustrating scenes mentioned in the text of a given book. Sometimes, portraits of authors or printers are included, but these are often executed in the style of Sani‘ al-Molk and render actual likeness. Frontispieces and finispieces are a rare phenomenon in lithographed books. The Kolleyat-e Sa‘di is particularly noteworthy in this respect, since several editions include a portrait of Naser al-Din Shah (figs. 60, 146-147), and two of the editions illustrated by Mirza ‘Ali-Qoli Khu’i contain large frontispiece renderings of Sa‘di (figs. 27, 134; see also fig. 69). The 1267-68/1850-51 edition even shows an exceptionally playful composite camel (fig. 148) inserted at the end of the Golestan.

13 Mostafa, M. 1960. “Darstellung des taglichen Lebens in der Kunst.” Bustan 2:33-48; Verma, S.P. 1978. Art and Material Culture in the Paintings ofAkbar’s Court. New Delhi etc: Vikas Publishing House; Hussein, M. I. 1980. Die Vergniigungen des Hofes und Alltagsleben. Eine tkonographische Untersuchung der Darstellungen in der Malerei der Fatimidenzeit und deren Wirkung auf die nach-

folgenden Epochen in Agypten. Berlin: Edition Orient. beeZOoke 41997.

P=

Aqapur-t09s.

EPILOGUE The introduction of lithography to Iran in the nineteenth century was a gradual process, and for a long time lithography was practiced side by side with printing from movable type. When lithography went out of currency around the middle of the twentieth century, a similar development took place. Lithography in its literal meaning of printing from a stone surface eventually became unavailable in Iran, but meanwhile equivalent modern techniques of planographic or chemical printing had taken over its name and function. Lithographic illustration in the Iranian context is closely linked to the production of texts and rarely constituted an independent form of art. It was discontinued together with the printing of texts and only later gained a secondary existence when it became a source of inspiration for artistic re-creation. The few examples of this artistic re-creation of lithographic illustration that have been collected at random suggest a wide range of application, particularly in the field of illustrated covers of books treating traditional topics. One of the earliest examples of the secondary application of lithographic illustration available to me is a copy of Homa, the inflight magazine of the (then) Iran National Airlines, dated February 1971. The magazine’s outside back cover contains a much enlarged detail of a lithographic illustration. The scene represents two soldiers on horseback looking at each other while probably preparing for battle. The illustration’s ubiquitous character makes it extremely difficult to identify its exact source. It probably originates from one of the books in which battle scenes are frequently depicted, such as the Eftekhar-name-ye Hedan, the Hamle-ye Hadanye, or the Shah-name. Well into the second half of the twentieth century, Persian popular literature in chapbook format exploited the illustrations contained in lithographed books to adorn

popular romances and epics.'’° The method practiced in this regard is a particularly interesting phenomenon. The responsible publishers, particularly the ‘Elmi family which dominated the production of popular literature until the revolution of 1979, inserted originally lithographic illustrations into various books by way of photostatic reproduction. Owing to the stereotypical character of popular literature with its repetitive scenes of battle and amusement (razm-o bazm), illustrations originally depicting a

specific scene within a specific book offered themselves as suitable means for illustrating various scenes. Accordingly, vaguely fitting illustrations were inserted into all sorts of books at different points. At times, this method was even practiced to excess, as in a chapbook version of the romance of Hosein-e Kord which contains one and the same illustration (depicting a situation of single combat) in four different places. In book covers, numerous examples of combining lithographic illustrations with modern elements exist. The cover of the Iranian edition of the folk-tales narrated by 156

Marzolph 1994a, particularly at pp. 25-27.

EPILOGUE

Mash{ha]di Galin Khanom,

designed by the Iranian artist Mohammad-‘Ali

63

Bani

Asadi'’’, is inspired by elements from the scene of Rostam who, having fallen into a pit with his horse Rakhsh, kills his treacherous half-brother who is hiding behind a tree. The few visible details of this scene are enough to fix its iconographical identification. While the scene belongs to the standard repertoire of illustrations to the Shah-name, the exact edition from which it was copied has not been identified. The artist has combined the scene with details extracted from other illustrations, probably from the same work, which he has enriched with additional line-drawings and pieces of patchwork in color. ‘The front cover is dominated by the head of a young woman, ostensibly linking the illustration to the book’s title and content. While in the above case the illustration only vaguely relates to the book’s content, recent publications on Ferdousi’s Shah-name compiled by US-based scholars employ hthographic illustration in a different way. The second edition of Dick Davis’ study Epic & Sedition (Washington: Mage 1999) is adorned by the scene of Faridun crowning Manuchehr, while the cover of Jerome W. Clinton’s book Jn the Dragon’s Claws (Washington: Mage 1999), a study and translation of the story of Rostam and Esfandiyar, aptly features the scene of Rostam killing Esfandiyar. Both illustrations have been extracted from the 1265-67/1848-50 edition of the Shah-name illustrated by Mirza ‘AliQoli Khw’i and directly relate to the contents of the relevant books. After being reduced to the essential elements of the central scene, the illustrations have then been set as a hght-colored negative image against a dark background. A different use of lithographic illustration can be witnessed in modern advertising. The only example presently available to me 1s a full-page illustration published in the

Persian journal San‘at-e chap'* advertising a color laser-printer. The illustration is constructed of two halves mirroring each other sideways. Each half is made up of a group of angels adoring an unrepresented character supposedly placed in the illustration’s center. Two angels in the foreground are kneeling, one of them presenting a piece of cloth. Out of the group of angels in the background, the two standing in the front row are holding objects in their hands. The one nearest to the center 1s holding up a mirror while his companion leisurely holds a fan in his hand. The iconographical details make it possible to identify the illustration as representing a detail extracted from the scene of Mohammad’s daughter Fateme being adored by angels (cf. figs. 38.1, 127, 130.1). Besides various editions of Tu/an al-boka’, the scene in the peculiar design used for the advertisement belongs to the standard illustrative program of the Hamle-ye Heidariye. While the illustration’s left half is executed in shades of grey, the right half is colored in tones of orange, blue, and violet. The caption of the advertisement reads “Only color shows true life” (¢anha rang be-zendegi vagewat mi-bakhshad).

157 Qesseha-ye Mashdi Gain Khanom. 110 qesse-ye ‘ammiuyane-ye irani. gerd-avarde-ye L. P. Elwell-Sutton. ed. by U. Marzolph, A. Amirhosseini-Nithammer, A. Vakiliyan. Teheran: Sorush 1374/1995. 198 San‘at-e chap 125 (Khordad 1372).

64

EPILOGUE

The final example to be discussed here is the use of lithographic illustration in the work of the Persian artist Ardashir Mohasses (born 1938). Mohasses, who professes to be influenced — along with other sources — by “illustration from nineteenth-century Persian books”,!®® mainly does drawings. While even his simple line drawings imitate the style of lithograpic illustration, his most peculiar pieces are collages composed from details of lithograpic illustrations that are reduplicated or enriched by additional drawings. As war and fighting are major topics in these collages, the illustrations use originals from martyrological works such as the 1280/1863 edition of Tohfat al-gakerin or historical works such as the 1275/1858 edition of the Vosrat-name. Other works of which fragments could be identified include A/f leila va leila, Asrar al-shahada, Eskandar-

name, and Shah-name. The illustration reproduced here (fig. 150) combines the ‘ayyarcharacters isolated from an illustration in the 1273/1856 edition of the Eskandar-name with pictures of an audience constructed from two different scenes in the 1280/1863 edition of Tohfat al-zakenn (fig. 149). We do not know in which manner the future attention given to illustrations in Persian lithographed books of the Qajar period will develop. While calligraphy and illumination still constitute highly appreciated forms of artistic expression today,'”° lithographic illustration apart from the examples of re-creation quoted above, has not been rediscovered as an artistic practice. Whether in terms of scientific research and study or whether im terms of artistic inspiration, these illustrations constitute an appealing subject which deserves further attention. Let it be noted once again that their modest and at times rather crude quality, instead of impeding their appreciation, ought to be recognized as the typical expression of an art addressing larger audiences beyond the intimate courtly circles of the rich and powerful. In the hundred years of its existence, lithographic illustration — like other genres of illustration — has to some extent profited from widespread popular culture. At the same time, it has probably contributed more to the invigoration and popularization of visual concepts than any other form of Persian art. Illustration in Persian lithographed books as an original form of artistic expression has gone out of currency. But when we take the lithographic items preserved from the Qajar period as documenting contemporary material culture and popular concepts, we may assume that a different kind of afterlife of Persian lithographic illustration in scientific research is just about to begin.

8 Quoted from the introduction by A. Banuazizi to Ardashir Mohassess. Closed Circuit History. Washington, D.C.: Mage 1989, p. 20.

°°

Dowlatshahi, A. 1979. Persian Designs and Motifs for Artists and Crafismen. New York:

Dover; Doulatshahi, ‘A. 1369/1990. Nagsh va negarha-ye irani bara-ye honarmandan va San‘atgaran. Teheran: Sorush; Mojarrad Takestani, A. 1372/1993. Rahnama-ye naqqashi va ketab-ara%i dar Iran. Qom: Astane-ye moqaddase-ye Hazrat-e Ma‘sume; id. 1375/1996. Shive-ye taghib. Teheran:

Sorush; Tarhha-ye tazyini-ye rant. Teheran: Vezarat-e farhang va ershad-e eslami 1376/1997.

b. FIGURES

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FIGs

180

‘Aja’eb al-makhlugat 1264/1847; Akhbar-name 1267/1850; Mayjales al-mottagin 1274/1857; Hezar masvale s.a.; Tagdis 1271/1854; Tufan al-boka’ 1271/1854.

AD =

Se

XA S

WAN

J

©

14 ( eyj

ON

:

SZ

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|

Hezar mas‘ale Jame

al-mojezat (= Hadigat al-Shi‘a); on miracles, by Aga Sabur ‘Arab (?) (13th/19th century). Dharv‘a 6: no. 2410. 1271/1854; ff. 135; 21.5 x 33.5 cm, ws 19 x 32 including diagonal writing on the margins, inner frame 15.5 x 25.5, 4 cols., 28 lines; 14 ills., ornamental heading

signed by Seiyed Ja‘far al-Kh’ansari (figs. 52.1-—2, 130.1, 132.1—3); pb (be-sa‘y va ehtemam-e) Aga Seiyed Hasan Kh*ansari; pr Allah-Qoli-Khan. Holdings: BSPK Zv 2061;

MAQ 23160 (Fazel Hashemi 1377: no. 77, 78); TKM 7613;

=PU,

Jame‘ al-tamsil; collection of proverbs and the tales that (supposedly) gave rise to their existence, by Mohammad-‘Ali Hablerudi, achieved in 1054/1644. Dharva 5: no. 181; Fehrest: cols. 988 f.; Marzolph 1994a: no. XVII; Marzolph 1999a. Sa

| 7 Alls. Holdings: *PC.

1269/1852; ff. 221; 15 x 22.5 cm, ws 10.5 x 18 cm, 20 lines; scribe Mohammad-Bager b. Mohammad-Hasan al-Kh’ansar1; 32 ills. by Mahmud al-Kh’ansari (?) (figs. 31.1—6, 105.1); pb (be-sa‘y-e) Mohammad b. Mohammad-Hasan Kh’oshnevis. Holdings: *BSPK Zvy 1675/120 (“mit zahlr[eichen] Kupfern”); *PC.

1273/1856; ca. ff. 198; 16.5 x 26.5 cm, ws 11 x 21 cm, 22 lines; scribe Mohammad-

Bager b. Molla Mohammad-Hasan al-Kh’ansari; 24 ills. (fig. 105.2); pb (be-sa‘y va ehtemam-e) Aga Mirza Ahmad. Holdings: CUL Moh.630.b.9 (ex libris E.G. Browne, Charles Schefer); *PELO QR II 11; *PC; cf. Catalogue Schefer 1899: no. 782.

1275/1858; ff. 166; 15.5 x 24.5 cm, ws 13 x 21 cm, 24 lines; scribe Mohammad-Bager

b. Molla Mohammad-Hasan al-Kh’ansari; 21 ills. (fig. 105.3); pb (be-sa‘y va ehtemam-e) Seiyed Abu |-Qasem, “Ali-Akbar. Holdings: *HDMG

Ec 1768/5; *PC.

1276/1859 Tabriz; ff. 142; 14.5 x 23 cm, ws 10.5 x 17.5 cm, 25 lines; scribe ‘Ali-Reza b. ‘Abbas-‘Ali al-Kh’ansari; 23 ills. (fig. 105.4); pr Mirza ‘Ah-Akbar, Allah-QoliKhan. Holdings: *HDMG

1769; SPUG O II 1123 (Shcheglova 1989: no. 545); *TML 7860.

1276/1859; ff. 165; ws 12.5 x 21 cm, 24 lines; scribe Mirza Aqa Kamre’i; 23 ills. pb (be-sa‘y va ehtemam-e)

Mohammad-Hosein,

Mohammad-Mahdi,

Mohammad-

Hasan Kh’ansari; pr Kerbela’1 Mohammad-Hosein. Holdings: *BSPK Zv 789/80; CSC 2 B 467 (Amir Arjomand 1996: vol. 4, 1738).

246

SOURCES

1280/1863; pp. 278; ws 13 x 22.5 cm, 25 lines; 14 ills. Holdings: *HDMG

Ec 1768/8.

1283/1866; ca. ff. 131; 16 x 24.5 cm, ws 13.5 x 21.5 cm, 26 lines; 9 ills. Holdings: TML 7460; *PC (fragmentary).

‘

1285/1868; pp. 312; 17.5 x 26 cm, ws 13 x 21 cm, 24 lines, scribe Mohammad-Bager al-Golpayegani; 22 ills.; pb (be-sa‘y va ehtemam) Abu |-Hasan b. Akhund Molla Zein al-Abedin Kh’oshnevis; pr Kerbela’i Mohammad-Qoh, Allah-Qoli-Khan, Kerbela’1 Mohammad-Hosein. Holdings: *LBL 14783.f.4. (Edwards 1922: col. 447); *M AQ(Fazel Hashemi 1377: no. 75) (fragmentary). ‘

1293/1876; ff. 164; 16 x 24.5 cm, ws 13.5 x 22 cm, 25 lines; scribe Mirza Aqa

Kamre’i; 18 ills.; pp Mohammad-Taqi. Holdings: GUL Moh.630.b.5; *PC.

1313/1895; 16 x 25 cm, ws 13.5 x 22 cm, 25 lines; 8 ills.

Holdings: *LDSA.

1321/1903; ff. 150; 16.5 x 24.5 cm, ws 13.5 x 21.5 cm, 54 lines; scribe ‘Ali-Akbar

“Eshqi”; 8 ills. by ‘Ali-Khan (fig. 86.2); pb (be-sa‘y va ehtemam-e) MohammadEsma‘ll b. Haji ‘Alh-Akbar Kh’ansar1. Holdings: *BSPK Zv 789/89; CUL Moh.630.b.20; *PC.

Jang-name-ye Emam Hasan; popular booklet on the tragedy of Kerbela’. 1273/1856; f20;'16 x 2015 em, ws Vtsx")

Feem, 2 times vorlls:

Holdings: *PELO Mél. 4° 100 (1) (followed by Hadis Hazrat-e Amir al-Mo’menin), TKM TeaTs

Jang-name-ye Mohammad-e Hanafiye; anonymous compilation of panegyrical and martyrological narratives from early Shvite history in verse (followed by other rhymed narratives). s.a.; 16.5 x 21 cm, ws 11.5 x 20.5 cm including diagonal writing on the margins, inner frame 8 x 14.5 cm, 2 cols., 17 lines; 19 ills.; pb (be-sa‘y va ehtemam-e) Aqa Mirza Hosein. Holdings: *LDUB 838 E 18.

1268/1851, 75 ff.; 16.5 x 21 cm, ws 12 x 18 including diagonal writing on the margins, inner frame 9 x 12 cm, 15 lines; 53 ills. by Mirza ‘Ali-Qoli Khw’i (figs. 45.2, 55.2, (Ao Holdings: *SPOI Ps II 219 (Shcheglova 1975: no. 1580); cf. Marzolph 1997: no. XIV.

Javaher al-asrar > Akhlaq-e Mohseni

Javaher al-‘oqutl, collection of edifying tales, attributed to Molla Mohammad-Bager b. Mohammad-Taqi Majlesi (died 1111/1699) .

Dharva 5: no. 1284; Fehrest: col. 1077. s.a.; Ca. 15 x 18.5 cm, ws 11 x 17 cm, 21 lines; 1 ill. (fig. 101). Holdings: *TUB 10 B 808 (single leaf pasted inside cover of the copy of the Khamse-ye Nezami 1270/1853 in *TUB

10 B 808).

SOURCES

247

s.a.; 17 x 22 cm, ws 12 x 18 cm, 22 lines; 50 ills. by Seifallah Kh’ansari. Holdings: *MAQ 22353 (Fazel Hashemi 1377: no. 81) (fragmentary).

1280/1863; ff 46; 16°x 21) em; ws 12.5 x 18:5 cm; 20«lmes; scribe: Hosein b. Mohammad-Hashem al-Musavi al-Kh’ansari; 21 ills.; pb (be-sa‘y va ehtemam-e) Aqa Mohammad-Hosein b. Kerbela’i Mahdi. Holdings: TKM

6218; *PC.

1301/1883; ff. 43; 16 x 20 cm, ws.13.5 x 18 cm, 22-23 lines; 14 ills. Holdings: *PC.

Ketab-e Judi; martyrological work, by ‘Abd al-Javad Judi (died 1301/1883). 1328-29/1910-11; pp. 189; 16.5 x 21 cm, ws 13.5 x 18 cm including diagonal writing on the margins, inner frame 9 x 12 cm, 13-14 lines; scribe ‘Ali-Asghar b. ‘Ali-

Akbar; 10 ills.; pb (hasb al-farmayesh-e) Sheikh ‘Ali, Sheikh Ahmad, Sheikh Hasan; pr Khodad[ad] Mashhadi. Holdings: *PC.

Kalile va Demne; a version of Kalle va Demne by Abu |-Ma‘ali Nasrallah Monshi (6th/ 12th century). Fehrest: cols. 2675 f. 1282/1865; pp. 281; ca. 19.5 x 33, ws 13.5 x 26 cm, 19 lines; 26 ills. by Mirza Ja‘far,

Mohammad-Bager-Khan, ‘Abd al-Muttalib (figs. 49.1-3, 75.1—4, 76.1—4, 87.1, 87.4). aie Pe.

SPUG O II 2292 (Shcheglova 1989: no. 510); *KM

5156 etc.; TML 6646;

1304/1886; pp. 243; 17 x 25.5 cm, ws 12 x 21 cm, 22 lines; scribe Mohammad-Bager Golpayegani, Seryed Mohammad-Sadeq Golpayegani; 25 ills. by Nasrallah, Nabi Qayar (figs. 87.2, 87.5); pb Mohammad-Hosein b. Ramazan-‘Ali Kashani, pr Mashhadi- Taq. Holdings: LBL 14783.f.10. (Edwards 1922: col. 164); *MAQ 127332 (Fazel Hashemi 1377: no. 204); TBKM; TML; TDT B 86; cf. Catalogue Schefer 1899: no. 760.

hola, Fooo—J7 (Pabriz?) pp. 240; 17 x 24.5 cems ws 12 x'21.5°em, 22 ilnes, scribe Dud al-Golpayegani; 23 ills. by Nasrallah (figs. 87.3, 87.6); pb (be-sa‘y va ehtemam-e) Mohammad-Esmail b. Molla ‘Ali-Akbar. Holdings: SPOI PJI 319 (Shcheglova 1975: no. 1449); *PC.

1327/1909; pp. 273; 16.5 x 24.5 cm, ws 12.5 x 21 cm, 19 lines; scribe Seiyed ‘Ali al-

Hoseini al-Sharifi al-Zahabi b. Aga Mirza Abu l-Qasem “Mirza Baba Shirazi”; 26 ills. by ‘Ali Reza; pb (be-sa‘y va ehtemam-e) Mohammad-Hadi b. Kerbela’1 Mohammad-Hasan Tehrani. Holdings: *PC.

Kanz al-eshteha’, short poems on the products of cookery, by Jamal al-Din Abu Eshaq Shirazi (died 827/1423); see also Diwan-e Boshaq-e at‘eme. Fehrest: col. 2683.

SOURCES

248

mad1299/1881: ff. 48; 9.5 x.16.5 cm, ws 8 x 14.5 cm, 2 cols., 15 lines; scribe Moham Hasan b. Abu ]-Qasem Kh’ansari; 21 ills.; pb (hasb al-kh'ahesh-e) Kerbela1

Mahmud, A-Mohammad-Sadeq Kh’ansari; pr Mohammad-T'aqi.

Holdings: LBL 14797.b.2.(2.) (Edwards 1922: col. 310); =PG.

Khale-ye Qurbaqge; anonymous folktale in verse. Fehrest: col. 1241. 1300/1882; ff. 8; 9.5 x 16.5 cm, ws 8 x 14cm, 2 cols., 15 lines; 8 ills. Holdings: *TKM 5906.

1301/1883; ff. 8; 9.5 x 16.5 cm, ws 8 x 14 cm, 2 cols., 15 lines; scribe MohammadEsma‘il al-Kh’ansari, 7 ills. Holdings: SPOI Ps I 77, Ps II 183 (Shcheglova 1975: no. 1586); *PC.

1301/1883: ff. 8; 9.5 x 16.5 cm, ws 8.5 x 14.5 cm, 2 cols., 15 lines; 7 ills.; pb Haji Bibi Khanom. Holdings: SPOI Ps I 77 (Shcheglova 1975: no. 1587); *PC.

Khale-ye Suske, folktale in verse, by Molla ‘Abdallah b. Molla Mohammad-Hasan. Fehrest: col. 1241. 1299/1881; ff. 8; 9.5 x 16.5 cm, ws 8 x 15 cm, 2 cols., 16 lines; scribe MohammadMahdi Qazvini; 8 ills. Holdings: *PC.

1307/1889; ff. 16; 18 lines; 11 ills. Holdings: *TKM 5657.

Khamse-ye Nezami; classical collection of the five verse narratives by Jamal al-Din Abu Mohammad Elyas b. Yusof Nezami Ganjavi (died 605/1209). Dhara 7: no. 1273; Fehrest: col. 1288-1289. 1264/1847; ff. 166; 20.5 x 32.5 cm, ws 18 x 30 cm including two cols. of diagonal writing on the margins, inner frame 12 x 19 cm, 4 cols., 23 lines; scribe ‘AliAsghar Tafreshi; 39 ills. by Mirza ‘Ali-Qoli Khu’i (figs. 4, 18.1-6, 29.1, 56.1, 59.3, 96.1-6, 97.1—2); pr Mohammad-Reza. Holdings: BSPK *Zv 1605, *Zv 1606; SPOI Ps IV 82 (Shcheglova 1975: no. 1083); *TKM 5850; *PC; cf. Catalogue Schefer 1899: no. 970; Robinson 1979a, Marzolph 1997: no. VII.

1269-70/1852-53; ff. 213; 19.5 x 29.5 cm, ws 15 x 25.5 cm including diagonal writing ‘on the margins, inner frame 12 x 19 cm, 4 cols., 23 lines; scribe ‘Ali-Asghar Tafreshi; 37 ills. by Mirza ‘Ali-Qoli Khu’i (figs. 29.2, 44.1-2, 56.3). Holdings:*GSF Poes. F.137/1; *HDMG Martin

Hartmann);

*NYPL

Marzolph 1997: no. XIX.

*OMO;

Ec 2158 (2 copies, ex libris Albert Socin,

*TKM

5820;

TFZA;

*TUB

10 B 808; cf.

1270/1853; ff. 266; 17 x 26.5 cm, ws 13 x 22 cm, 4 cols., 29 lines; scribe Mostafa-Qoli

b. Mohammad-Hadi Soltan Kajuri, 44 ills. by Mirza ‘Ali-Qoli Khuw’i (figs. 29.3, 96.4, 56.6, 109.1, 109.4); pb Mohammad-Hosein Tehrani; pr Allah-Qoli-Khan,

Aqa Mohammad-Hosein. Holdings: *PBN 4° Ya 111; SPUG O11 1125 (Shcheglova 1989: no. 331); *TFZA; *PC (fragmentary); cf. Marzolph 1997: no. XXII.

SOURCES

249

1276/1859; ff. 238; 17 x 25 cm, ws 13 x 22 cm, 31 lines; scribe ‘Abd al-Hosein Faridani; 46 ills. (fig. 29.4, 109.2, 109.5); pb (be-hasb al-kh’ahesh-e) Mirza Baba Kh’ansari. Holdings: RANL A.IV.d.9; SPOI Ps III 96 (Shcheglova 1975: no. 1084); *TKM 7360; RP: 286407 71869-7203, 1,266; 17252615 emj-wsil3ix 21 5-cm,,4 cols.,.29 lines; scribe

Mirza Aqa Kamre’i; 43 ills. (figs. 29.5, 109.5, 109.6); pb (be-sa‘y va ehtemam-e)

Seiyed Hosein, Aqa Seiyed Abu I-Qasem Kh’ansari. Holdings: NYPL *OMO; SPOI Pur 181, PK 361 (Shcheglova 1975: no. 1086); TKM

5249: *PC.

1209-01 /1881-83; ca pp.) 600. 14.5 xe20/5' em, wssl0. 5x: 17.4, 4 cols...27 lines; scribe al-Hajj Mohammad-Reza “Safa”; 50 ills. by Mostafa, Mirza Nasrallah

(figs. 29.6, 88.1, 88.3, 88.5).

Holdings: CUL Moh.644.b.14, Moh.644.b.26, Moh.644.b.27; *TKM 5163, 7100, 7466; TFZA. 131671698; p. 645; 10.5 x 25.5 cm, ws 13.5 «20.5 cm, 4 cols., 25 lines; scribe’ Zein al-‘Abedin b. Mirza Sharif Qazvini “Safa”; 49 ills. by Javad (figs. 29.7, 88.2, 88.4, 88.6); pb (be-hasb-e kh’ahesh-e) Aga Sheikh Hasan. Holdings:

MAQ (Fazel Hashemi 1377: no. 105); TKM

7331, 7759; TFZA; *PC.

ie ly oU2 a; op. 1o0+ 76.--109 +6l + 92: 16.5 x 24.5 cmawsl4sx,22 cm, 4 cols., 31 lines; scribe Nasrallah Qajar Tabrizi; 46 ills. (fig. 29.8); pb (kasd alfarmayesh-e) Haji ‘Ali Aga. Holdings: SPOI PJI 243 (Shcheglova 1975: no. 1090); TFZA; *PC.

1392/7003 s8ohiraz; "pp.5662 19:5 x 27cm, ‘ws 16°x.23°cm,\4.cols., 29 lines; scribe

Mohammad-Ebrahim Meshkin-galam Shirazi; 50 ills. (fig. 29.9); pb (be-sa‘y va ehtemam-e) Mohammad-Taqi Ma‘refat Kh’ansari; pr Mirza Asadallah Kh’ansari. Holdings: TKM; *PC (fragmentary).

Khavar va Bakhtar; anonymous popular romance. Fehrest: col. 1249. 1300/1882; pp. 40; 15 x 19.5 cm, ws 11 x 15.5 cm, 21 lines; scribe Mortaza al-Hoseini al-Baraghani,; 2 ills. by Mortaza al-Hoseim; pb (hasb al-farmude-ye) Prince Toghrol-Tekin Mirza. Holdings: LBL 14783.d.17.(1.) (Edwards 1922: col. 330); *MAQ 2886 (Fazel Hashemi 1377; noT0?).

Khavar-name, a folk-tale on the exploits of ‘Ali and his companions, by Mohammad Hosam al-Din Qohestani (died 893/ 1487). Fehrest: col. 1248; Marzolph 1994a: no. XXII. s.a.; 2 ills. (fig. 104). Holdings: *PC (two single leafs pasted inside the covers of the copy of Eskandar-name 1283/1866 in *PC) (attribution to the Khavar-name not certain).

2757

Gog loo x 26.0 em, ws 12 x 20 cm, 24 lines; 35, ills. by Mirza@sHasan Khorasani, Abu l-Qasem Shirazi; pb (be-sa‘y va ehtemdm-e) Molla Zein al-‘Abedin al-Kerbela’1. Holdings: *BSPK Zv 2201.

950

SOURCES

3 ills.; pb 1280/1863 ca. Tabriz (2); pp. 111; 16.6 x21.5 cm, ws 12.5 x 19 cm, 21 lines;

(be-hasb al-farmayesh-e) Mohammad-Hasan, Hajji ‘Al Sahhaf; pr MashhadiMahdi. Holdings: *LBL 14807.c.4. (Edwards 1922: col. 330); TKRM 6473. Khavass al-hayavan; abbreviated translation of the Arabic zoographical encyclo-

pedia Hayat al-hayawan by Kamal al-Din Muhammad al-Damiri (died 808/ 1405), prepared by Mirza Mohammad-Taqi b. H’aje Mohammad Tabrizi during the reign of Shah ‘Abbas II (reigned 1052/1642-1077/1666). In all editions surveyed the text is followed by Anis al-‘oshshag by Mohammad b. al-Hasan alRami (died 795/1392), on similes to express female beauty.

Dhara 7: no. 1320; Fehrest: col. 1293. 1275/1858; pp. 199; 16.5 x 25 cm, ws 12 x 20 cm, 26 lines; scribe ‘Abd al-Hosein b.

‘Abbas Faridani Esfahani; 184 ills.; pb (asb al-kh’ahesh-e) Setyed Hosein b. Seiyed Ja‘far Kh’ansari. Holdings: BSPK 4° Lk 3530/10; SPOI Ps III 77 (Shcheglova 1975: no. 693); SPUG O II 2978 (Shcheglova 1989: no. 796); * PC.

1279-83/ 1862-66; ff. 102; 16 x 25 cm, ws 12 x 21 cm, 26 lines; scribe MohammadBager b. Mohammad-Hasan al-Kh’ansari; 165 ills. Holdings: LBL 14759.b.2. (Edwards 1922: col. 526); SPOI Ps III 49 (Shcheglova 1975: no, 694); *PC?

1305/1887; ff. 102; 16x 25 cm, ws 12 x 22 cm, 25 lines; scribe Khanejan al-Kh’ansari; 154 ills. by Khodadad. Holdings:

MAQ (Fazel Hashemi 1377: no. 106); *PC.

Dastan-e Khezr va Hazrat-e Amir, anonymous narrative on the popular saint Khezr (following Me‘raj-name; see specifications there). 1268/1851; 5 ills. Holdings: *SPOI Ps II 224 (Shcheglova 1975: no. 1569); TKM

7170.

1271/1854; scribe Nasrallah; 4 ills. Holdings: *[KM 6711.

Khorus va rubah; anonymous popular narrative. 1299/1881; ff. 8; 9.5 x 16.5 cm, ws 8 x 15.5 cm, 15 lines; scribe Mahdi b. Molla ‘Abd al-Muttalib Qazvini; 9 ills.; pb (be-sa‘y va ehtemam-e) Mashhadi Gholam-Reza b. Mashhadi Ahmad. Holdings: *PC.

Khosrou-e divzad, anonymous folk-tale. Marzolph 1984: 264. 1264/1847; ff. 24; 15 x 20.5 cm, ws 10.5 x 16.5 cm, 22 lines; 32 ills. by Mirza ‘Ali-Qoli Khu’ (figs. 59.1-2, 107.1). ee *PELO HD XI 43; cf. Marzolph 1997: no. VI; cf. Catalogue Schefer 1899: no. 1270/1853; ff. 21; 16 x 21.5 cm, ws 12 x 17.5 cm, 21 lines; 27 ills. (fig. 107.2),

Holdings: *BSPK Zv 2209; *LBL 14783.c.1. (Edwards 1922: col. 336, 577); cf. Catalogue Mohl 1876: no. 1270.

SOURCES

251

1298/1880; pp. 23;17 x 21 cm, ws 14.5 x 19 cm, 21 lines; scribe Mirza Hasan-Qoli Sani‘ (...); 20 ills. by Nasrallah Kh’ansari (fig. 77.1). Holdings: *MAQ 2885 (Fazel Hashemi 1377: no. 102).

1321—22/1903-04; pp. 31; 16 x 20.5 cm, ws 14 x 18 cm, 22 lines; scribe Mohammad-

Taqi; 18 ills. by ‘Ali-Khan; pb (be-sa‘y-e va@fi va jahd-e kaft) Aqa Seiyed Hosein Shirazi b. Aqa Mirza Mohammad-‘Ali Shirazi. Holdings: *PC..

Kolsum-nane (= ‘Aq@ed al-nesa’); on traditional customs and superstitions of women, by Jamal al-Din Mohammad b. Hosein al-Kh’ansari (died ca. 1115/1703). Fehrest: col. 2650; Katira’i, M. 1349/1970 (ed.), ‘Agayed al-nesa’va Mer at al-bolaha’: Do resale-ye enteqadi dar farhang-e tude. ‘Teheran. 1295/1878; ff. 10; 15 x 19 cm, ws 10 x 15 cm, 20 lines; scribe Mohammad-Hasan b. Abu 1-Qasem al-Kh’ansari; 5 ills. Holdings: *TKM 5706 (1) (followed by Dozd va Qazi).

1314/1896; pp. 19; 17.5 x 21.5 cm, ws 12 x 18 cm, 18 lines; scribe Hosein al-Tafreshi;

11 ills.; pb (be-sa‘y va ehtemam-e) A-Mirza Mohammad-Mahdi, A-Mirza Moham-

mad-Reza b. Aqa Mirza Gholam-Reza. Holdings: *MAQ; SPOI Ps II 114 (Shcheglova 1975: no. 1502).

Dwan-e La’ali; collected poems by a contemporary poet. 1320/1902; pp. 109; 13.5 x 21.5 cm, ws 11.5 x 19 cm including diagonal writing on the margins, inner frame 8 x 13.5 cm, 14-15 lines; scribe Mohammad-‘Ali b. Zein al-‘Abedin al-Kh’ansari; 11 ills. by Mohammad-‘Ali b. Zein al-‘Abedin alKh’ansari (signed: rageme-ye katebeh). Holdings: *PC.

Lalerokh, dokhtar-e Ourang-zeb-Shah; narrative on the daughter of the Moghul emperor Ourang-Zeb, allegedly translated from the English. 1306/1888; ff. 18; 9.5 x 16.5 cm, ws 6.5 x 12.5 cm, 11 lines; 4 ills. by Mostafa (fig.

85.5); pb (be-sa‘y va ehtemam-e) Mirza Hasan b. Mirza ‘Abbas; pr Dar al-fonun. Holdings: *PC.

Lata ef va zara@ ef, anonymous collection of humorous and entertaining tales. Fehrest: col. 2810. 1299/1378 275 15)x20.5 cm, ws 11 x 17.5 cm, 21 lineés;}39 ills: Holdings: *BSPK Zv 2230/30.

1298/1881; ff. 38; 16 x 20.5 cm, ws ca. 11 x 17.5 cm, 21 lines; 28 ills. (followed by Hekayat-e Nazr-bastan-e zan-e qaz. ... in verse; 3 ills.). Holdings: *PC (fragmentary).

Leili va Majnun; poem on a popular Persian theme, by Maktabi Shirazi, achieved

895/1489. Fehrest: cols. 2822 f.; Marzolph 1994a: no. XXIX.

259

SOURCES

s.a.; ff. 48; 9.5 x 16.5 cm, ws 8 x 13.5 cm, 2 cols., 17 lines; 13 ills. Holdings: *PC (fragmentary).

1259/7 1343ath, 73; :sate Is tet scribe Seyyed Yusof Milani; 4 ills.; pb Bahram b. Esma‘il Ardabili.

:

Holdings: *TKM 8092.

1262/1845: ff. 90; ca. 10.5 x 17 cm, ws 7 x 13.5 cm, 2 cols., 14 lines; scribe Nasrallah Tafreshi; 31 ills.; pr Molla ‘Abbas-‘Ali Tehrani. Holdings: *PELO LK IV 33; SPUG O II 95 (Shcheglova 1989: no. 392).

1270/1853: ff. 33; 14.5 x 23 cm, ws 10.5 x 19.5 cm including diagonal writing on the margins, inner frame 8 x 14, 2 cols., 18 lines; 25 ills. Holdings: *LBL 14837.d.1.(4.) (Edwards 1922: col. 376); cf. Catalogue Mohl 1876: no. 897,

1276/1859; ff. 68; 10 x 16.5 cm, ws 8 x 14.5 cm, 18 lines; scribe Mohammad-‘Ah Nashali; 28 ills.; pr Mirza ‘Abd al-Karim. Holdings: *BSPK Zv 153.1;*PG)

Lesan al-gherb fi tamyrz al-sehha va l-‘eb > Taqdis

Majales al-mottaqin; martyrological work by Molla Mohammad-Taqi b. Mohammad Baraghani Qazvini “Shahid-e sales” (died 1264/1847), achieved in 1258/1842. Dharva 19: no. 364; Fehrest: cols. 2891 f.; Rechana 1: 247. 1263/1846; scribe ‘Ali al-Kh’ansari; 2 ills. Holdings: *TKM 5425.

1266/1849; 1 ill. Holdings: *TML 6742 (fragmentary).

12707 1355348. 152: ca. 2s

oremy ws' LO

2/-5.cm, ca, 36 lines: Zalls:

Holdings: *BSPK 2° Zv 2543; *LBL 14712.i.2. (Edwards 1922: col. 527).

1271/1854; ff. 143; 20.5 x 34 cm, ws 17.5 x 27.5 cm, 35-36 lines; 2 ills.; pb (be-sa‘y va

ehtemam-e) ‘Abd al-Khaleq. Holdings: BSPK 2° Zv 2544 (lost); TDA (Mas‘udi 1374: no. 123/1); *PC.

1274/1857 Tabriz; pp. 308; 21 x 34.5 cm, ws 16 x 29 cm, 34 —35 lines; 26 ills. by Mirza Mohammad-Esma‘ll Tabrizi; pb (be-sa‘y va ehtemam-e) Molla ‘Abdallah b. Mashhadi Soleiman Tabrizi. - Holdings: BSPK 2° Zv 2545 (lost); *PC.

Masnavi-ye ma‘navi, famous compilation of mystical verse-narratives by Jalal al-Din Rumi (died 672/1273). Fehrest: cols. 2882-2886. 1306-07/1888-89; pp.-31'+ GAL +1176; '18)'x° 27. 58cm. we 13 36225 excluding occasional writing on the margins, 29 lines; scribe Mohammad-Hasan b.

Mohammad-‘Ali al-Golpayegani (al-Jorfadaqani), Taher b. Ahmad al-Kashani (hashf al-abyat); 6 ornamental chapter headings by Mostafa; pb (be-sa‘y va ehtemam-

e) Aqa Mirza Mahmud Kh’ansari; pr Mirza Habiballah.

Holdings: LBL 14787.k.7. (Edwards 1922: col. 424); SPOI Ps III 92 (Shcheglova 1975:

no. 1131); SPUG O III 1908, O II 2983 (Shcheglova 1989: no. 346); *PC.

SOURCES

20g

Masnavi-ye atfal, a selection of popular tales from Jalal al-Din Rumi’s Masnavi-ye ma‘navi by “Meftah al-Molk” Mahmud b. Yusof Mazanderani (early 14th/late 19th century). Fehrest: col. 2880. 1309/1891; pp. 327; 13 x 29 cm, ws 9 x 15 cm, 14-15 lines; scribe Mohammad-Reza “Safa” Soltan al-Kottab b. Mirza Habiballah Mahallati Khaqani; 46 ills. by Mostafa (figs. 33.1—4); pb (bar hasb-e farmayesh-e) “Meftah al-Molk” Mahmud. Holdings: *PC.

Matamkade;

martyrological work by Qorban b. Ramazan al-Qazvini al-Rudbari

“Bidel” (13th/19th century). Dhara 19: no. 71; Rehana 1: 301; Fehrest: col. 2841. 1266/1849; ff. 188; 33 lines; scribe ‘Abd al-Hamid Tafreshi “Safa”; 12 ills.; pr Molla ‘Abbas-‘Ah.. Holdings: *TKM 7994.

1274/1857; ff. 160; 20.5 x 32.5 cm, ws 17 x 27 cm, 35 lines; scribe Mohammad-Reza

b. ‘Ali-Akbar al-Kh’ansari, Mirza Aqa Kamre’i; 12 ills. by Mirza Hadi, Seifallah Kh’ansari (figs. 66.1-2); pb (hash al-kh’ahesh-e) ‘Ali, Sadeq, and MohammadSadeq al-Kh’ansari; pp Mohammad-Taqi b. ‘Abd al-Mohammad Tehrani. Holdings: *BSPK Zv 1274; CSC S 562.1968 (Amir Arjomand 1996: vol.2, 488); LBL 14779.k.5. (Edwards 1922: col. 352); *PC.

Me‘raj-name, verse narrative on the prophet Mohammad’s heavenly voyage on the mythical steed Buraq, by Shojai (13th/19th century) (followed by Dastan-e Khezr va Hazrat-e Amir).

Fehrest: cols. 3051 f. 1268/1851; ff. 24; ws 11.5 x 18 cm including diagonal writing on the margins, inner Maine ok cma Cols, 19 lines: 1 fills. (ig, 12822). Holdings: *SPOI Ps II 224 (Shcheglova 1975: no. 1417); TKM

7170.

1271/1854; scribe Nasrallah; 17 ills.; pb (beyehat-e) Molla Mohammad-‘Ah. Holdings: *TKM 6711.

1276/1859; ws 12 x 20 cm including diagonal writing on the margins, inner frame 8.5 x 13 cm, 18 lines; 8 ills. Holdings: *BSPK Zv 2705. 1291/1874; inner frame 15 lines; 10 ills. Holdings: *TKM 7034.

Mo‘jezat-name-ye Hazrat-e Seiyed al-Shohada’, popular booklet on miracles performed by Hosein. s.a.; pp. 15; 10.5 x 17 cm, ws 8 x 14.5 cm, 2 cols., 16 lines; scribe Ja‘far-Qoli; 5 ills. Holdings: *PC.

Mokhtar-name (= Rouzat al-mojahedin); an account of early Shr ite history, especially about Mokhtar, the avenger of Hosein, by ‘Ata’allah b. Hosam Va‘ez Haravi, achieved in 981/1573. Dharva 11: no. 1804; Fehrest: col. 2953; Marzolph 1994a: no. XXX.

SOURCES

254

inner s.a.; 16 x 20.5 cm, ws 11 x 17.5 cm including diagonal writing on the margins, frame 8 x 12 cm, 15 lines; 11 ills. Holdings: *BSPK Zv 1991.

1261/1845; ff. 177; ca. 16 x 26.5 cm, printed space 13.5 x 23 cm, 28 lines; printed from movable type; 8 ills. done as wood engraving (figs. 7.1~4, 8. 1-4); pb (be;

kushesh-e) “Abd al-Karim.

Holdings: *CSC 2 B 1667 (Amir Arjomand 1996: vol. 1, 411); LPMK S 28177 4 (ex libris Ph.W. Schulz); LBL 14773.h.7. (Edwards 1922: col. 136); SPOlePl 170 (Shcheglova 1975: no. 219); TML 12842; cf. Catalogue Mohl 1876: no. 942; Babazade 137 SALOU On 1 oO)

1284/1867; 21 x 33.5 cm, ws 16 x 28 cm, 33 lines; 14 ills. by Mirza Heidar-‘Ah Shirazi. Holdings: * ML

6965.

1300/1882; ws 18.5 x ca. 31 cm, ca. 32 lines; 18 ills. by Nasrallah Kh*ansari. Holdings: *MAQ.

.

1366/1946; pp. 199; 22 x 34 cm, ws 18 x 31.5 cm, 40-41 lines; scribe Yahya b.

Mohammad-Hasan Ahmad,

Seiyed

al-Hoseini al-Kh’ansari; pb (be-sa‘y va ehtemam-e) Seiyed

Mahmud

b. Mirza

Mohammad-‘Ali

Shirazi;

pr Akhund

Ketabchi. Holdings: *PC.

Motayebat-e Molla Nasr al-Din; Persian adaptation of the tales on Nasr al-Din Hoca (Turkish), or Juha (Arabic), here largely translated from an Arabic version published in the 19th century. Fehrest: col. 3033; Marzolph 1994a: no. XXXII. s.a.; ff. 44; 10.5 x 17 cm, ws 8 x 14 cm, 17 lines; 14 ills.; scribe Mohammad-Hasan alGolpayegami; pb (be-sa‘y va ehtemam-e, hasb al-kh’ahesh-e) Mohammad-Esmail b. Mohammad-Hasan al-Kh’ansari (followed f. 43a by a rhymed story men kalam-e Sheikh Baha’). Holdings: *PC.

1299/1881; pp. 87; 10.5 x 17 cm, ws 8 x 13.5 cm, 17 lines; 14 ills. Holdings: *PC.

1299/1881 ff 44 .10.5x,17 cmws 8 x 13.5 em, 17 lines; 14alls, _ Holdings: *LBL 14783.a.6. (Edwards 1922: col. 587).

Montakhab al-hekayat; anonymous collection of entertaining narratives. 1301/1883; ff. 8; 9.5 x 16.5 cm, ws 8 x 14 cm, 2 cols., 16 lines; scribe MohammadHasan b. Abu |-Qasem al-Kh’ansari; 5 ills. by Mohammad; pr Mashhadi

Mohammad-Taqi.

Holdings: *PC.

Mosetyab-name; anonymous martyrological narrative, mainly about Mosetyab, a follower of Hosein, who was killed at the outcome of a Shiite uprising he staged (died 65/684). Fehrest: col. 3014; Marzolph 1994a: no. XXXII.

SOURCES

200

1265/1848; ff. 40; ca. 15 x 21 cm, ws 9 x 17 cm; scribe Nasrallah Tafreshi; 40 ills. by Mirza ‘Ali-Qoli Khu’ (fig. 57.1); pr Mohammad-Reza. Holdings: *SPOI Ps II 212 (Shcheglova 1975: no. 1630); cf. Marzolph 1997: no. IX.

1270/1853; 22 x 16 cm, ws 11 x 17.5 cm, 23 lines; scribe Fath-‘Ali b. Aga ‘AliMohammad Kh’oshnevis Shirazi; 24 ills.; pr. Mohammad-Reza. Holdings: *BSPK Zv 2213.

1271/1854 Tabriz; pp. 146; 17.5 x 23 cm, ws 12 x 19.5 cm, 23 lines; scribe Yusof alHoseini al-Musavi b. Mirza Mohammad

b. Mirza Mohammad-‘Ali b. Mirza

Ja‘far al-Khorasani; 62 ills.; pb (be-farmude va-ehtemam-e) Molla ‘Abbas-‘Ah. Holdings: *BSPK Zv 2212.

1297/1879; ff. 80; 15 x 20 cm, ws 13 x 18 cm, 23 lines; 43 ills.; pb (be-sa‘y va ehtemam-e) Seiyed Esma‘l-Aga b. Aqa Seiyed Hosein “Aqa” al-Kh’ansari. Holdings: *PC.

Qesse-ye Musa;

popular version of the narratives about Moses (in both editions

following Qesse-ye Soleiman).

1266/1849; 18 ills. Holdings: *TKM.

1273 7168563)17 ills. Holdings: *LBL 14787.c.10.(3.) (Edwards 1922: col. 672).

Ketab-e mokhammas-e Mush va gorbe; verse narrative in imitation of the satyrical verse narrative Mush va Gorbe by ‘Obeid-e Zakani. PIG 71SG0 tt, 16: 95x

16; cms -wse 8 xv lo rome! 2(cols.4l

6 lintes;-Gralls.: 1scribe

Mohammad-Esma‘ll; pb (hasb al-kh’ahesh-e) Habiballah al-Kh’ansar1. Holdings: *PC; cf: LBL 14783.aa.1.(6.) (Edwards 1922: col. 544).

Nan va Halva (and other rhymed stories); by Mohammad b. Hosein Sheikh Baha'i ‘Amoli (died 1030/1620). Fehrest: col. 3243. 130371885; 11 x 17.5 cm, ws 6.5 x 13.5.cm, 2 cols., 14 lines; scribe ‘Abd al-Ghaffar al-

Hamadani; 11 ills.; pb (hasb al-kh’ahesh-e) Aga Mohammad Zaman; pr Mashhadi Mohammad-Taqi. Holdings:4ALD'T iD\49;*PC.

Ketab-e Naz va Neya@z; anonymous popular romance. Fehrest: col. 3218.

1275/1858; 17 x 26 cm, ws 11.5 x 23 cm including diagonal writing on the margins, inner frame 8 x 17 cm, 2 cols., 19 lines; scribe Seifallah al-Kh’ansari; 23 ills. by Nasrallah al-Kh’ansari. Holdings: *BSPK Zv 2062.

Qesse-ye Nassaj va Najjar; anonymous popular tale. AaTh 575; Marzolph 1984: type 1640 (4) + 1646 (7); EM 4: 1358.

SOURCES

256

10 1270/1853; ff. 12; 11 x 17 cm, ws 7 x 13.5 cm, 17 lines; scribe Fathallah Shirazi, ills. Holdings: *BSPK Zv 2210.

1276/1859; ff. 12; ws ca. 7.5 x 15 cm, 15 lines; 10 ills.

Holdings: *PELO Mél. 8° 189 (5).

Nosrat-name (=Zafar-name-ye Naseri); historical work by Mirza ‘Abbas-‘Ali “Safa” (13th/19th century). Fehrest: col. 3279. 1275/1858; pp. 158; ca. 16.5 x 23 cm, ws 9x 15.5 cm, 15 lines; scribe Mirza ‘Abbas‘Ali; 19 ills. (including 6 large-sized ones) by Mirza Hasan (fig. 21). Holdings: *MAQ 3962 (Fazel Hashemi 1377: no. 229); FT KM 5502; 7OS1;

Nush-Afarin-e gouharta; anonymous popular romance. Fehrest: col. 3327; Marzolph 1994a: no. XXXV. 1263/1846; ff. 82; 14.5 x 22 cm, ws 10.5 x 18.5 cm, 21 lines; scribe ‘Ali-Asghar Tafreshi; 57 ills. by Mirza ‘Ali-Qoli Khu’i (figs. 15.1-12, 133.1). Holdings: *RANL; *PQ; cf. Marzolph 1997: no. II.

1263/1846; ff. 77; 14.5 x 20.5 cm, ws 11 x 17.5 cm, 19 lines; scribe Mohammad alKh’ansari; 57 ills.; pb (be-sa‘y va ehtemam-e) Aga Baba b. Hajj al-Haramein Hajji Hosein Kh’ansar1. Holdings: *LBL 14783.b.1. (Edwards 1922: col. 600 f.).

1264/1847" Tabriz; pp. 1683.14 x/20S°emy ws 10S Sn 16 emP 16 ines 35 alls "ie: 133.2); pr ‘Abdallah. Holdings: *SPOI Ps II 109 (Shcheglova 1975: no. 1644).

1268/1851; 15.5 x 21 cm, ws 12 x 17 cm, 20 lines; scribe Mohammad-‘Ali al-Tehrani; 51 ills.; pb (be-sa‘y va ehtemam-e) Mashhadi Reza. Holdings: *BSPK Zv 2211 (“mit vielen Kupfern”).

1273/1856; ff. 60; 16 x 21 cm, ws 11.5 x 17.5 cm, 21 lines; 26 ills.; pb (be-say va

ehtemam-e) Molla ‘Ah; pr. Molla ‘Ali. Holdings: *LBL 14783.d.4.(3.) (Edwards 1922: col. 601); cf. Catalogue Mohl 1876: no. 874.

1285-93/1868-76; ff. 62; 16.5 x 21.5 cm, ws 13 x 17.5 cm, 20 lines; 14 ills. Holdings: *MAQ 3019 (Fazel Hashemi 1377: no. 234).

1299/1881; ff. 49; 17 x 21.5 cm, ws 14x 17.5 cm, 21 lines; 17 ills.; pb (be-farmayesh-e) Molla ‘Abdallah. Holdings: *GSF Poes. 8°.128/6; SPOI Ps II 181 (Shcheglova 1975: no. 1646). 1319/1901; pp. 79; 16 x 20.5 cm, ws 14.5 x 18 cm, 21 lines; scribe Mahmud b.

Mohammad al-Kh*ansari, 12 ills.; pb (be-sa‘y va ehtemam-e) Aga Seiyed Ebrahim; pr Khodadad Tehrani. Holdings: *PC.

1354/1935; pp. 71; 18 x 23 cm, ws 15 x 19 cm, 20 lines; scribe (...) Shirazi; 11 ills. by Mohammad Taj-Bakhsh; pb (bar-hasb-e farmayesh-e) Aqa Mohammad-Mahdi Qazi Sa‘di. Holdings: *PC.

SOURCES

257

Pandiyat be-zaban-e gorbe va mush, edifying poetry by Mohammad b. Hosein Sheikh Bahai ‘Amoli (died 1030/1620). 1298/1880; ff. 8; 9.5.x 16.5 cm, ws 8.5 x 14 cm, 2 cols., 15 lines; 11 ills.; pb (kasd alfarmude-ye) Abu |-Qasem Kh’ansari. Holdings: *PC.

Parishan-name, collection of narratives in imitation of Sa‘di’s Golestan by Mirza Habib “Qa’ani” b. Mirza Mohammad-‘Ali “Golshan” (died 1272/1855). Dhara 3: no. 725; Rehana 4: 387-390; Fehrest: col. 604. 1271/1854; pp. 181; 14 x 22.5, ws 8 x 16.5, 20 lines; scribe Mirza-Aqa b. Mirza Esmail Shirazi; 9 ills. (fig. 94); pb (hasb al-kh’ahesh-e) Mirza ‘Abbas-‘Ali b. Mohammad-Hashem Shirazi. Holdings: BSPK Zv 2088; LBL 14783.e.11. (Edwards 1922: col. 239); TDT CG 1593; TKM 6241; *PC ; cf. Catalogue Moh! 1876: no. 933.

Qahraman-e qatel, anonymous popular tale. Fehrest: col. 2573; Marzolph 1994a: no. XXXVI. 1270/1853; ff. 60; ws ca. 11 x 16 cm, 25 lines; scribe Mohammad-fa‘far Golpayegani; 22 ills. Holdings: *TKM 7018.

1274/1857; ff. 48; 17 x 21 cm, ws 12 x 18.5 cm, 19-20 lines; scribe Hedayatallah

Qazvini; 22 ills. Holdings: *LBL 14783.d.4.(2.) (Edwards 1922: col. 318 ).

W27-07 196; Cay LO.)-x 22°cm, ws 11,9 x°18°em,20 lines; 22 ills. Holdings: *BSPK Zv 2200.

1306/1888; ca. 15 x 21 cm, ws 13 x 19 cm, 23 lines; scribe Mohammad-‘Ali Tabrizi;

27 ills. (fig. 124.1); pb (be-hasb-e kh’ahesh-e) Mirza Esma‘ilKadkani; pr Mirza ‘Abd al-Hamid. Holdings: *BSPK (in Zv 2230/30).

Qanun-e nezam,; a treatise on military exercise by Dr. Tholozan, teacher at the Dar al-Fonun. Fehrest: col. 2520. 1267/1850; numerous ills. by Mirza ‘Ali-Qoli Khu’ (figs. 20.1-3); pr ‘Abd alMohammad. Holdings: *TKM.

Ketab-e Qaza@ va qadar; popular booklet of an edifying character, in verse. 1301/1883; ff. 15; 9.5 x 16.5 cm, ws 8 x 15.5 cm, 17 lines; 8 ills. by ‘Ali-Khan; pb (hasb al-kh’ahesh-e) Molla Ahmad Jula (?). Holdings: *PC.

Qesas al-anbeya’, tales of the prophets, by Molla Mohammad Joveiri (4th/10th century). Dhara 17: no. 576; Fehrest: cols. 2537 f.; Marzolph 1994a: no. XXX VII.

SOURCES

258

mad-Ah; 1276/1859; ff. 135; 17 x 21.5 cm, ws 11.5 x 17 cm, 23 lines; scribe Moham

b. Aga 15 ills.; pb (hasb al-farmayesh-e) Gholam-Hosein Shirazi, Zein al-‘Abedin Hadi al-Kh’ansari.

Holdings: *BSPK Zv 2203.

.

.

/

¥

-e) 1289/1872 Tabriz; ff. 125; ws ca. 11 x 16.5 cm, 23 lines; 5 ills.; pb (be-sa‘y va ehtemam Molla Hasan b. Aqa Mohammad. Holdings: *TKM.

at

1997 O70. soe ro, Ws 2) Reo Jecie 2 felines, scribe Mirza Hasan b. Mohammad-Bager al-Kh’ansari; 6 ills. by Nasrallah-Khan Kh’ansari (ig 3); pb (be-say va ehtemam-e) Aqa Mir Mostafa; pr Allah-Qoli-Khan. Holdings: *PC.

1307/1889;

|

17 x 21.5 cm, ws 14 x 18 cm, 21 lines; scribe Mohammad-Qol

b.

Kerbela’i ‘Abbas-Qoli al-Kharaqani; ¢ ills. Holdings: *PC.

Rand va Kiba > LZiba va Ra‘na Rend va Zahed, an edifying tale in verse, by Mohammad Baghdadi (died 9637/1556). Fehrest: col. 1750.

b. Soleiman Fozuli

1275/1858; ff. 32; 10 x 17.5 cm, ws 7 x 13.5 cm, 14 lines; scribe Mohammad-‘Ah Tehrani; 7 ills. Holdings: *LBL 14807.a.3.(2.) (Edwards 1922: col. 433 ).

Reyaz al-mohebbin; collection of moralizing and martyrological tales by Reza-QoliKhan b. Mohammad-Hadi Hedayat (died 1288/1871). Dharva 11: no. 1994; Rechana 6: 354-356; Fehrest: col. 1810. 1270/1853; ff. 126; 14 x 22.5 cm, ws 6 x 16 cm, 14 lines; scribe Mirza Mohammad-

Reza Kalhor; 21 ills. (figs. 36.1-12); pr Aqa Mir Mohammad-Bacer. Holdings: MAQ 2373, 49828 (Fazel Hashemi 1377: no. 132, 133); *PC.

1298/1880; ff.

115; 13 x 21 cm, ws 9 x 16 cm, 17 lines; 23 ills.; pb (be-sa‘y va ehtemam-e)

Seiyed Abu ]-Oasem Kh*ansari; pr Kerbela’i Mohammad-Hosein. Holdings: *MAQ 43472 (Fazel Hashemi 1377: no. 131); *PC.

1314/1896; pp. 248; 15.5 x 21 cm, ws 8.5 x 16 cm, 15 lines; scribe ‘Ah b. Javad; 21

ills.; pr Mashhadi Asad-Aqa. . Holdings:

MAQ 145291 (Fazel Hashemi 1377: no. 134); SPUG O II 3069 (Shcheglova

1989: no.246).*PC.

Kolleyat-e Reyazi > Bahr al-fava’ed Romuz-e Hamze; voluminous anonymous romance about the adventures of Hamze b. ‘Abd al-Mottalib (died 3/625), the prophet Mohammad’s paternal uncle. Dharva 11: no. 1540; Fehrest: col. 1747; Marzolph 1994a: no. XX. 1274-76/1857—-S9; ff. 284; 20.5 x 34 cm, ws 17 x 28.5 cm, 31 lines; scribe Seiyed

‘Abdallah Tafreshi, Mohammad-‘Ali Tehrani, Mohammad-Ja far Golpayegani; 150 ills. b y Mirza Hasan (figs. 43, 121.2, 126.3, 138); pr Mirza ‘Ali-Akbar.

Holdings: *BSPK Zv 2218, Zv 2218a; LDUB 8008 A 1; LBL 14783.1.2 (Edwards 1922: col. 245); *PC; cf. Catalogue Schefer 1899: no. 1004.

SOURCES

woo

1359/1940; ca. pp. 790; 20 x 34.5 cm, ws 18 x 30.5 cm, 37 lines; scribe Mohammad-

‘Ahi, Hosein Shahenshashani; pb Sherkat-e Tab‘-e ketab. Holdings: *PC.

Rostam-name; adapted prose version of the tales on Rostam, the main hero in Ferdousi’s Shah-name. Fehrest: col. 1729; Marzolph 1994a: no. XXXIX. 1279/1862; 15 x 24 cm, ws 11 x 19 cm, 23 lines; 60 ills. by Hasan Tabrizi (fig. 126.1). Holdings: *TKM 5349.

1318/1900; ff. 100; 16 x 25 cm, ws 14x 24 cm, 26 lines; 50 ills. by ‘Ali-Khan; pb (hasb

al-farmayesh-e) Aga Mohammad-Esmail. Holdings: *PC.

Rouzat al-mojahedin

~ Mokhtar-name

Kolleyat-e Sa‘di; the collected works in prose and verse by Mosleh al-Din Sa‘di (died 691/1292), normally comprising the Golestan, Bustan, Tanv‘at, Qasa’ed, Motayebat, Khavanm, Ghazahyat, Hazlyat.

Fehrest: cols. 2661 f. 1267-68/1850-51; ff. 246; 17.5 x 28 cm, ws 13 x 25 cm including diagonal writing on the margins, inner frame 9 x 18.5 cm, 23 lines; scribe Mostafa-Qoli ‘Attar b.

Mohammad-Hadi Soltan Kajuri,; 74 ills. by Mirza ‘Al-Qoli Khu’i (figs. 5, 58.5, 147.1, 148); pr ‘Abd al-Mohammad. Holdings: IUK 891.55 (Sadi) (Karatay 1949: 154); LPMK (ex libris Ph.W. Schulz); *LBL 14787.1.5. (Edwards 1922: col. 545);*PC (fragmentary); cf. Catalogue Schefer 1899: no. 1010 (?); cf. Marzolph 1997: no. XI.

1268-69/ 1851-52; ff. 265; 16 x 29 cm, ws 13 x 22 cm including diagonal writing on the margins, inner frame 9 x 15 cm, 19 lines; scribe Mostafa-Qoh Kajuri, Mirza Aga Kamre’i; 111 ills. by Mirza ‘Ali-Qoli Khu’i (figs. 28.1-2, 45.3, 131). Holdings: *RANL A.IV.c.5 (ex libris Leone Caetani); *TKM 6989 (fragmentary); cf. Marzolph 1997: no. XV.

1268-91/1851—74; ff. 250; 17 x 28 cm, ws 13 x 24.5 cm including diagonal writing on the margins, inner frame 9 x 17 cm, 23 lines; scribe ‘Abd al-Rahmaan b. Mohammad-Ja‘far Shirazi, Mirza Aqa Kamre’i; 46 ills. by Mirza ‘Ali-Qoli Khw’i (fig. 28.3-4, 134, 135, 146); pr Allah-Qoli-Khan, A-Mohammad-Hosein. Holdings: *TDT A 1098; cf. Marzolph 1997: no. XVI. 1271-72/1854—55; ff. 232; 19 lines; 108 ills. by Mirza Hasan. Holdings: *CUL S 828.c.85.12.

1272/1855 Tabriz; 16 x 22 cm, ws 10.5 x 19.5 cm including diagonal writing on the margins, inner frame 7 x 13 cm, 19 lines; 25 ills.; pb (be-ehtemam-e) and pr Molla

‘Abbas-‘Ah, Kerbela’i ‘Abedin. Holdings:

*MAQ (Fazel Hashemi 1377: no. 199).

SOURCES

260

1272-74/ 1855-57; 17.5 x 28 cm, ws 13.5 x 24 cm including diagonal writing on the margins, inner frame 9.5 x 16.5 cm, 22 lines; 75 ills. by Mirza Seifallah, Mirza Hasan (figs. 64.1, 64.3, 69, 147.3); pb (be-sa‘y va ehtemam-e) Mirza Baba Kh*ansari. Holdings: *BSPK Zv 1675/160 (“mit Holzschnitten”); TDT A 1097 (fragmentary); *TKM (fragmentary).

1274/1857 Tabriz; ca. pp. 480; 17 x 27 cm, ws 13.5 x 25 cm including diagonal writing on the margins, inner frame 10 x 19.5, 19-23 lines; 58 ills. by Sattar Tabrizi (figs. 60, 64.2, 64.4); pb (hash al-farmayesh-e) Haji Ebrahim. Holdings: *FOS Sg 5/1506; *PC.

1274/1857; 19 lines; scribe ‘Ali b. ‘Abdallah al-Tehrani, Mohammad-Ja‘far Golpayegani; 89 ills. by Mirza Hasan; pb (be-sa‘y va ehtemam-e) Molla Mohammad-Bager Kh’ansari; pr Allah-Qoli-Khan Qayjar. Holdings: *FOS Sg 5/1500.

1275-76/ 1858-59; ca. ff. 200; 17.5 x 27.5 cm, ws 14 x 24.5 cm including diagonal writing on the margins, inner frame 10 x 17.5 cm, 22 lines; 65 ills. by Mirza Hasan. Holdings: *BSPK Zv 1675/170; *PC (fragmentary). 1279/1862; ff. 212; 15 x 21 cm, ws 12.5 x 19 cm including diagonal writing on the

margin, inner frame 8 x 13.5 cm, 19 lines; 30 ills. Holdings: *PC (printed on blue paper).

1278-80/ 1861-63; pp. 462; 15.5 x 27.5 cm, ws 12.5 x 24 cm including diagonal writing on the margins, inner frame 9.5 x 17.5 cm, 23 lines; scribe Mirza Aqa Kamre’s, 44 ills. by Mirza Hasan Esfahani (figs. 147.2, 147.4); pb Seryed Ahmad Kh*ansar1. Holdings: *CUL Moh.654.b.22; SPOI PJI 401 (Shcheglova 1975: no. 1146); TBKM.

1283-85/1866—68; ff. 209; 16 x 26.5 cm, ws 13.5 x 25 cm including diagonal writing on the margins, inner frame 10x 18.5 cm, 20-24 lines; scribe ‘Ali-Asghar

Tafreshi; 13 ills.; pb (azjehat-e) Kerbela’i ‘Ali-Qoli-Khan, Kerbela’i MohammadQohi, Kerbela’1 Mohammad-Hosein.

Holdings: MAQ 5316 (Fazel Hashemi 1377: no. 200); *PC. 1295-96/1878; ca. pp. 430; 16 x 26 cm, ws 13 x 24 cm including diagonal writing on the margins, inner frame 9 x 17 cm; scribe Karim b. Sheikh ‘Abd al-Hosein _ Faridani; 16 ills.; pb (be-sa‘y va ehtemam-e) Molla Mohammad b. Molla ‘Ali; pr Mashhadi-Taq}. Holdings: *LDUB 865 c 18.

1301—-04/1883-86; ff. 232; 16 x 25 cm, ws 13 x 23 cm including diagonal writing on the margins, inner frame 10 x 17 cm, 19-23 lines; scribe Mohammad-Bagqer

Golpayegani, 23 ills. by Mirza Nasrallah; pb Mohammad-Bacer Esfahani.

Holdings: TMD; *PC.

1308-127 1890-94; ff 252; 16.5 x 25. em sws 13 xa 20ecumi20= 25 lines; scribe Mohammad-Reza “Safa” Soltan al-Kottab b. Hajyi Mirza Habiballah Khaqani Mahallati; 26 ills.; pr Setyed Mortaza Tehrani. Holdings: TBKM; TDT A 1229; TKM 8949; *PC.

SOURCES

261

1310/1892; ff. 213; 16.5 x 26.5 cm, ws 13.5 x 24.5 cm including diagonal writing on the margins, inner frame 10 x 17.5 cm, 21-23 lines; scribe Mortaza al-Hoseini al-Baraghani, Mohammad-Reza “Safa” b. Haji Mirza Habiballah Khaqani; 14 Ils.; pb (be-sa‘y va ehtemam-e) ‘Abd al-Hosein, Molla Mohammad Kh’ansari, Mirza Mohammad b. Molla Zein al-‘Abedin Kh’ansari; pr Mashhadi Mohammad-

Taqi, Aga Seiyed Hosein Tehrani. Holdings: *PC. Sadi

> Golestan-e Sa‘ah

Salim-e Javaheri, anonymous popular romance. Fehrest: col. 2019 f.; Marzolph 1994a: no. XLH; Marzolph 1994b. Seat Ola) xeolacmmy ws 10x 1b.cm, li dines; 27 ills; (fig. »124,5),

Holdings: *PELO Mél. 8° 198 (8). s.a.; ca. pp. 40; 15.5 x 21.5 cm, ws 14 x 19.5 cm, 21 lines; 11 ills. by ‘Ali-Khan. Holdings: *PC (fragmentary). 1271/1854; ca. 13.5 x 22 cm, ws 11 x 18 cm, 21 lines; 10 ills.; pb (hasb al-farmayesh-e)

Mohammad b. Zein al-‘Abedin (?). Holdings: *PC.

1300/1882; 14 ills. Holdings: *TKM 5201.

1306/1888; 15 x 20 cm, ws ca. 12 x 17.5 cm, 22 lines; scribe ‘Isa b. MohammadMahdi; 11 ills.; pb (hasb al-farmayesh-e) Molla Esma il.

Holdings: *BSPK (in Zv 2230/30).

Ketab-e Sarbaz > Asrar al-shahada

Shah-name-ye Ferdousi, the Persian national epic, by Abu |-Qasem Ferdousi (died ca, 4114/1020). Fehrest: cols. 2083-2085. 1262/1845 Bombay; ff. 17 + pp. 1103 + 101 + 31 [recte 30]; 21.5 x 31.5 cm, ws 14.5 x 24cm, 4 cols., 27 lines; scribe Reza al-Hoseini al-Shirazi; 57 ills. (fig. 108.1); pb Mohammad-Mahdi Esfahani. Holdings: [UK 891.55-1.F 51 (Karatay 1949: 61); SPOI Hd IV 30 (Shcheglova 1975: no. 1012); SPUG O II 423 (Shcheglova 1989: no. 285); TFZA; TKM 6868, 8040; *PC.

IoGvie4oeBombay, pp: 24 +1 102 -b 1014532; 19.5% 29 cm} ws. 142:2'%'23.9. cm, 4 cols., 27 lines; scribe Reza b. Ahmad al-Hoseini al-Shirazi; 57 ills. by ‘Ali-Akbar;

pb Mohammad-Bager Shirazi. Holdings: FOS Sg 5/700; IUK 891.55-1 F 51 (Karatay 1949: 61); LBL 14807.h.4. (Edwards 1922: 248); PELO UU 179, FI 10; SPUG O IV 60 (Shcheglova 1989: no.

986); TKM 14002; *PC.

1965-677 1646-909 ff. 995: 20.5. x33 cm, ws 15.5x 26.5 cm, 4 cols., 29 Imes; scribe

Mostafa-Qoli b. Mohammad-Hadi Soltaén Kajuri; 57 ills. by Mirza ‘Ali-Qoli Kenaiearomolsl 002, 07.2, Ol.1 O13, 91-4 7108-31225 126.2)-pb" Haji Mohammad-Hosein Tehrani; pr. Haji ‘Abd al-Mohammad al-R4zi.

062

SOURCES Holdings: BSPK fol. Zv 1279; CUL Moh.634.a.1; GUM II 399.190; *LPUB Orient.

Lit. 43 m; *LBL 757.1.4. (Edwards 1922: col. 249); MAQ 8906, 8565 (Fazel Hashemi 1377: no. 154, 155); *MBS A. Or. fol. 249 (ex libris Steph. Quatremeri); *PELO UU I 179; SPOI Ps IV 86 (Shcheglova 1975: no. 1013); TBKM; TKM

9465; TDT A 1183;

*Z,OS8 KC XI 1 (ex libris James Darmsteter); *PC; cf. Marzolph 1997: no. x.

1275/1858 Tabriz; ff. 412; 22.5 x 36 cm, ws 16.5 x 29.5 cm, 6 cols., 29 lines; scribe

‘Askar-Khan b. Hosein-Beg Ordubadi (al-as! Tabrizi al-maskan), 57 ills. by Ostad Sattar (figs. 30.2, 61.2, 61.4, 108.2, 123); pb Mashadi Hajji-Aga b. Aga Ahmad Tabriz. . Holdings: *RANL A.IV.f.8 (ex libris Leone Caetani); TDA (Mas‘udi: no. 104); *PC.

1307/1889; pp. 634; 21 x 34 cm, ws 16.5 x 28 cm, 6 cols., 33 lines; scribe Mohammad-Reza “Safa” Soltan al-Kottab; 62 ills. by Mostafa (figs. 30.3, 81.1, 81.3,

81.5, 83.1-6, 85.1-4, 133.5); pb Mohammad-Hosein Kashani. Holdings: SPOI Ps IV 86 (Shcheglova 1975: no. 1017); *PC.

1316/1898 Tabriz; pp. 634 + 58; 21 x 36 cm, ws 17 x 28 cm, 6 cols., 33 lines; scribe Mirza ‘Ali Delkhun b. Mohammad-Javad Tabrizi; 63 ills. by ‘Abd al-Hosein, Kerbela’i Hasan Naqqash (figs. 30.4, 80.1-3, 81.2, 81.4, 81.6, 82.1—2); pb ‘AhAqa. Holdings: TKM

7523; TDA-(Mas udi: no. 103); TEZA; *PC.

1319-227 1901-04, pp.18 + 1/72 4.1234 153 +133 4+ 55-3

2a

coed)

x 32.5 cm, 6 cols., 33 lines; scribe ‘Emad al-Kottab; 41 ills. by ‘Ali-Khan, Mohammad-Kazem, Hosein-‘Ali (figs. 30.5, 50.1—3); portraits by Mosawver al-

Molk; pb order of Hosein Pasha-Khan Amir Bahador. Holdings: [UK 891.55-1 F 51 (Karatay 1949: 61); no. lOO}; NYPL Tages.

MAQ 81815 (Fazel Hashemi 1377:

2 FC.

Shah-name (single episodes). s.a.; Saltanat-e Keka’us va Rostam-name;, 13.5 x 19.5 cm, ws 8.5 x 15.5 cm, 2 cols., 17 Imes? /alls: (ro-'20), Holdings: *BSPK Zv 1318.

Shah-name (selected tales from the Shah-name-ye Ferdousi in prose, different versions). 1295/1878; Shah-name moshtamel bar ahvalat-e Rostam-e Dastan va jang-e hafi lashkar, f£. 144: _

17.5 x 24 cm, ws 14.5 x 18.5 cm, 17 lines; 73 ills. by Mohammad-Ebrahim

Tabriz.

Holdings: *PC.

1304/1886; 72 ills. Holdings: *BSPK (in Zv 2230/30).

Shangul va Mangul; anonymous version of the well-known folk-tale in verse. Fehrest: col. 2173; Marzolph 1984: type 123. s.a.; ff. 8; 10.5 x 16.5 cm, ws 8 x 14 cm, 2 cols., 16 lines; 15 ills.

Holdings: *KM; cf. LBL 14783.aa.1.(3.) (Edwards 1922: col. 660).

Shirin va Farhad > Farhad va Shirin

SOURCES

263

Ketab-e Shiruye-ye namdar, anonymous romance on the adventures of Shiruye, the grandson of Alexander the Great and brother of Amir Arsalan. Fehrest: col. 1329; Marzolph 1994a: no. XLVII. 1271/1854; ff. 52; 16 x 21 cm, ws 12 x 18 cm, 23 lines; scribe Mohammad-Bager alKh*ansari, 21 ills. (fig. 124.6). Holdings: *GSF Poes. 8°.128/5.

1275/1858; ca. 16 x 22 cm, ws 13 x 18 cm, 23 lines; scribe Mohammad-Bagqer b. Molla Mohammad-Hasan al-Kh’ansari; 11 ills. Holdings: *PC.

1276/1859; ff. 52; 17.5 x 21 cm, ws 13 x 18 cm, 21 lines; scribe Mohammad-Bager alKh’ansari; 20 ills. Holdings: *BSPK Zy 2219.

1277/1860; 16 x 21.5 cm, ws 13 x 18 cm, 23 lines; scribe Esma‘l al-Golpayegani; 20 ills. Holdings: *MBS A. Or. 4° 2223.

1280/1863; ca. 16 x 21 cm, ws

12 x 17 cm, 23 lines; scribe Mohammad-Esma‘ll

Golpayegani; 21 ills. Holdings: *BSPK Zv 2220.

1323/1905; pp. 65 (begins at p. 14); 15 x 20 cm, ws 14 x 18 cm, 22 lines; scribe Mohammad-Taqi; 8 ills. Holdings: *PC.

1323/1905; pp. 82 (pp. 79-80 blank); 16 x 20 cm, ws 13.5 x 18 cm, 16-22 lines; 14 ills.; pb (be-ehtemam-e) Mirza Javad. Holdings: *PC.

ISGO Al I37; pp 433; 16.55x24.5 cmy ws $333 x 2brcemy2delines; ‘scribe’ PFathallah

Mohammad Kh’‘ansari, Mirza Seryed Mohammad-‘Ali Vaziri; 25 ills. by Mohammad Sane‘ (fig. 93.2); pb (bar-hasb-e dastur-e) Sherkat-e Tab‘-e Ketab. Holdings: *PC.

Qesse-ye Hazrat-e Soleiman; popular version of the narratives about Solomo (both editions followed by Qesse-ye Musa). Fehrest: col. 2541. £2667 1849) th, 54;°23 lines; 26 alls: Holdings: *TKM 5199. 1273/1856; ff. 27; 17 x 22.5 cm, ws 14x 18.5 cm, 22 lines; scribe Mohammad-Hasan

b. Esma‘il al-Kh’ansari; 25 ills. by Mirza Mahmud Kh’ansar1. Holdings: *LBL 14787.c.10.(3.) (Edwards 1922: col. 672); cf. Catalogue Mohl 1876: no. 876.

Ta dib al-atfal; Mahmud b. Zein al-‘Abedin Yusof Mazanderani “Meftah al-Molk” (early 14th/late 19th century). 1307/1889; ff. 75; 10 x 17 cm, ws 8 x 16 cm, 14 lines; scribe ‘Abd al-Ghaffar al-

Hamadani, 23 ills. (figs. 25.1—4); pb (hasb al-ehtemam-e) Abu Yusof Mashhad. Holdings: BSPK Zv 2119/500; *PC.

SOURCES

264

Taqdis (Taqdis; Lesan al-gheib fi tamyiz al-sehha va I-‘eib), a book of edifying tales in verse, by Ahmad b. Mohammad-Mahdi Nardaqi (died 1244/1828).

Dharia 15: no. 894; Fehrest: col. 2264, 2806. s.a.; ff. 144; 17 x 22 cm, ws 12 x 21 cm including diagonal writing on the margins, inner frame 8.5 x 13.5 cm, 2 cols., 18 lines. Holdings: *PC.

1271/1854; ff. 152; 14x 22.5 cm, ws 11.5 x 21.5 cm including diagonal writing on the margins, inner frame 8 x 13.5 cm, 17 lines; scribe ‘Abd al-Hosein al-Shishjani alEsfahani; 11 ills. by Mirza ‘Ali-Qoli Khu’ (figs. 55.6, 117.5). Holdings: *LBL 14787.c.11. (Edwards 1922: col. 94); *MAQ 135090 (Fazel Hashemi 1377: no. 209); SPUG O II 1874 (Shcheglova 1989, no. 426); cf. Marzolph 1997: no. BOT

1275/1858; ff. 148; 16 x 22.5 cm, ws 12 x 20 cm including diagonal writing on the margins, inner frame 8.5 x 14 cm, 2 cols., 19 lines; scribe Mohammad-‘Ali Tehrani; 10 ills.; pb (be-sa‘y va ehtemam-e) Mohammad-Sadeq b. MohammadBaqer Kh’ansar1.

Holdings: BSPK Zv 1195/600; TDT C 72; TKM 8156; *PC.

1280/1863; ff. 148; 16 x 22 cm, ws 12 x 20 cm including diagonal writing on the margins, inner frame 9 x 14 cm, 2 cols., 18 lines; scribe Sadeq al-Hoseini; 9 ills. by ‘Abd al-Mohammad b. Molla Hadi Kh’ansari; pb (be-sa‘y va ehtemam-e) Mashhadi Reza Kh’ansari, Kerbela’i ‘Ali Kh’ansari. Holdings: SPOI Ps II 100 (Shcheglova 1975: no. 1304); TKM 5749, 6951; *PC (printed on blue paper).

1313-14/1895—-96; pp. 400; 16 x 21.5 cm, ws 11.5 x 19.5 cm including diagonal writing on the margins, inner frame 7.5 x 12.5 cm, 2 cols., 17 lines; scribe ‘Ali-

Mohammad Moi‘allem; 13 ills.; pb (be-sa‘y va ehtemam-e) Mohammad-Hosein, Mohammad-Rahim Kh’ Ansari. Holdings: *LDUB 832 E 46.

Tarassol; a book of writing exercises in various calligraphic styles. Fehrest: col. 888. 1262/1845 (Tabriz?); 16 x 24.5 cm, ws 13.5 x 20.5 cm including diagonal writing on the margins, inner frame 10 x 14 cm; 2 ills. (figs. 16.1—2). Holdings: *TBKM.

1262/1845; ws 13 x 19.5 including diagonal writing on the margins, inner frame 8.5 x 12cm; 2 ills. (figs., 14.5-6). Holdings: *PC.

1267/1850; ff. 19; 17.5 x 27.5 cm, ws 15.5 x 24 cm including diagonal writing on the outer margins, inner frame 12.5 x 20.5 cm, 12 lines; 2 ills. (figs. 20,34) .

Holdings: *LBL 14807.f.5. (Edwards 1922: col. 3); *PC. 1283/1866; ff. 15; 16.5 x 25.5 cm, ws 15.5 x 24.5 cm including diagonal writing on the

margins, inner frame 11.5 x 18 cm, 11 lines; 2 ills. (figs. 26.5-6); pb (be-sa‘y va ehtemam-e) Mohammad-Ja‘far Kh’ansari; pr Mirza ‘Ali-Akbar. Holdings: *PC.

SOURCES

265

Tarikh-e jahdngosha-ye Na&deri; historical work by Mirza Mohammad-Mahdi-Khan Monshi Astarabadi, secretary of the Afsharid Nader-Shah (reigned 1147/17341160/1747). Dharva 3: 290, 5: 300; Fehrest: col. 694. 1266/1849 Tabriz; 21 x 31 cm, ws 14.5 x 25 cm, 27 lines; scribe ‘Askar b. al-Hosein

al-Ordubadi al-Tabrizi; 5 ills.; pb (be-sa‘y va ehtemam-e) Mirza ‘Abd al-Samad; pr Molla ‘Abdallah. Holdings: *POU (ex libris Jan Rypka).

soto ok lapiz,

pp.

140. 20 x 55,0 cm, Ws

Io. x29

tm, 30” lines” scribe

Mohammad-Hosein b. Mohammad al-Ashtiyani al-Qomi; 6 ills.; pr Kerbela’i Mohammad-Taqi b. Allahuri-Beg. Holdings: LBL 14773.k.2. (Edwards 1922: col. 502); TDT A 472; *PC.

i

o7 ooo, Ws L2.u« 14.9 cin, Gills: (Tig) 2). Holdings: TKM

6000; TDT B 688; *PC.

1277/1860; pp. 213; 18 x 27 cm, ws 12 x 21 cm; scribe ‘Askar-Khan b. Hosein-Beg Ordubadi; 5 ills. Holdings: *LPMK S 28173 (ex libris Ph.W. Schulz).

1286/1869 (Tabriz?); pp. 149; 21 x 34 cm, ws 15.5 x 27.5 cm, 29 lines; scribe Mohammad-Hosein b. Molla Mohammad al-Ashtiyani; 6 ills.; pr Mirza Mohammad. Holdings: SPOI Ps 1Y 131 (Shcheglova 1975: no. 43); *PC. 1288/1871 Tabriz; ff. 110; 17 x 26.5 cm, ws 12 x 22 cm, 27 lines; scribe Mostafa b.

Mirza ‘Abd al-Rasul Marandi Tabrizi; 8 ills. by Mir Mohsen; pb Mashhadi Allahvardi. Hioldmes?* TRM'6552, 7552;*PC.

Tarikh-e Zelzele-ye Quchan; poem about the earthquake that devastated Quchan in 1312/1894, by Hajji Mohammad-Taqi “Fanv’. 1314/1896; ff. 8; 10.5 x 16.5 cm, ws 8.5 x 15 cm, 18 lines; 1 ill. by ‘Ali-K han; pb (hasb al-farmayesh-e) Mashhadi Mohammad-Hosein,

(hasb al-kh’ahesh-e) Haji Moham-

mad-Taqi “Fanv’. Holdings: *MAQ (Fazel Hashemi 1377: no. 56).

Tohfat al-majales; on miracles, by Soltan-Mohammad b. Taj al-Din Hasan b. Seif al-Din Astarabadi (13th/19th century). Dharva 3: no. 1700; Fehrest: col. 807. 1278/1861 Tabriz; pp. 293; 19 x 33.5 cm, ws 14.5 x 28 cm, 35 lines; scribe Sheikh Mohammad-Bager al-Kamre’l, 27 ills. (fig. 118.2); pb (be-tavassot-e) Mirza Reza, Mashhadi Mohammad; pr ‘Abd al-Hosein. Holdings:

*GUL

Moh.404.a.3;

cf. another edition bearing the same

date in LBL

14779.k.18. (Edwards 1922: col. 256).

Tohfat al-zakerin; about early Islamic history, by Mohammad b. ‘Ali-Mohammad Chelabi Mazander4ani “Bidel” Kermanshahani, achieved in 1250/1834. Dharva 2: no. 1568; Reihana 1: 301; Fehrest: col. 799.

SOURCES

266

ahim 1280/1863; pp. 451; 21.5 x 54 cm, ws 15 x 29 cm, 31 lines; scribe Mohammad-R (figs. Hamadani “Mozahheb”; 123 ills. by Ostad Bahram Kermanshahani | 10-74 N49 23) Holdings: LBL 14779.1.1. (Edwards 1922: col. 14); no. 65); TML 22315; TKM 5377, 6613; =PG:

MAQ 22349 (Fazel Hashemi LS7H:

Toube-ye Nasuh; popular edifying tale in verse.

1300/1882; ff. 12; 9.5 x 16.5 cm, ws 8 x 15 cm, 2 cols., 16 lines; scribe Mahdi (b.) ‘Abd al-Mohammad Qazvini; 11 ills.; pr Mashhadi Mohammad-Taqj. Holdings: *PC.

Tufan al-boka’; about the martyrdom of Hosein, by Mirza Ebrahim b. MohammadBager Jouhari (died 1253/1837), achieved in 1250/1834; often followed by Davazdah band-e mohtasham. . Dharva 15: no. 1208; Reihana 1: 438; Fehrest: col. 2269. s.a.; ws 18 x ca. 30 cm, ca. 39 lines; 8 ills. by Nasrallah Kh*ansari (fig. 77.2).

Holdings: *BSPK Zv 2121/50.

s.a.; ca. ff. 206; 17 x 24.5 cm, ws 11.5 x 21 cm, 31 lines; 18 ills. by Mirza ‘Ah-Qoh Khu’ (figs. 38. 1-4). Holdings: *PC (fragmentary); cf. Marzolph 1997: no. II.

s.a.; ca. 17 x ? cm, printed space 14.5 x ? cm; printed from movable type; 1 ill. by Mirza ‘Ali-Qoli Khu’ (fig. 12). Holdings: *MAQ (single leaf pasted insted cover of the copy of favaher al-‘oqul 1303/1885 in MAQ 21060 = Fazel Hashemi 1377: no. 82); cf. Marzolph 1997: no. I.

S.a5 Cast LOT; 1930 chisweity ox 29. cnr

/ lines? 6 ais:

Holdings: *PC (fragmentary).

s.a.; ca. ff. 168; 21 x 23.5 cm, ws 17 x 29.5 cm, 36 lines; 15 ills. by Mirza Seifallah. Holdings: *PC (fragmentary).

s.a.; 9 ills. by Mohsen Taj-bakhsh. Holdings: *TKM.

1269/1852 (Tabriz?); printed space 16 x 26 cm, 35 lines; printed from movable type; 11 full page hthographed ills. by Mirza ‘Ali-Qoli Khu’i (fig. 9); pr. Seiyed Bager. Holdings: *BSPK Zv 2214 (“mit eingedr[uckten] Kupfern”); *PC; cf. Catalogue Schefer 1899: no. 790; Marzolph 1997: no. XX. 1271/1854; ws 15 x 26 cm, 35 lines; scribe Mohammad

b. Mohammad-Naqi

Khansari; 28 ills. by Mirza ‘Ali-Qoli Khu’i (figs. 55.5, 57.5-6, 117.6)

.

Holdings: *MAQ; cf. Marzolph 1997: no. XXV.

1271/1854; pp. 314; 20.5 x 34cm, printed space 16.5 x 26.5 cm, 36 lines; printed

from movable type; 9 full page lithographed ills. by Mirza Hadi, Mirza ‘Ali-Qoli Khu’ (figs. 10, 65, 127); pr Allah-Qoli-Khan, Aga ‘Abd al-Karim. Holdings: *MAQ 25451 (Fazel Hashemi 1377: no. 163); cf. Marzolph 1997: no. XXIV.

1272/1855, 21.5 x 34.5 cm, ws 16.5 x 28.5 cm, 37 lines; scribe Mohammad-Reza b. ‘Abd al-Ghaffar Kh’ansari; 22 ills. Holdings: =PEE@;U 127,

SOURCES

1272/1855; ff. 148; movable type; Holdings: *PC; 1275/1858; ws 16.5

267

21 x 34 cm, printed space 16 x 26.5 cm, 36 lines; printed from 8 full page lithographed ills. by Mirza ‘Ah-Qoli Khu’i (fig. 11). cf. Marzolph 1997: no. XXVIIL. x 27.5 cm, 36 lines; 5 ills. by Mirza Hasan Esfahan.

Holdings: *TFZA.

1277/1860; ws ca. 17 x 30 cm, ca. 39 lines; scribe Mohammad-Reza al-Kh’ansari; 19 ills. Holdings: *MAQ,

1280/1863; ws ca. 17 x 28 cm, ca. 36 lines; 9 ills. Holdings: *LPUB Orient. Lit. 46 (ex libris Charles Schefer); cf. Catalogue Schefer 1899: no. VASE

1281/1864; ca. ff. 124; 20 x 33 cm, ws 17.5 x 29.5 cm, 37 lines; 9 ills. by Mirza Hasan. Holdings: *PC (fragmentary). 1294—-96/1877-79; 21 x 33 cm, ws 17 x 28 cm, 36 lines; 8 ills. by ‘Abd al-Hosein

Kh*ansari; pb (be-sa‘y va ehtemam-e) Allah-Qoli-Khan Qajar; pr ‘Ali-Qoli-Khan Qayjar. Holdings: *MAQ 958 (Fazel Hashemi 1377: no 164).

1300/1882 ca.; ff. 130; 20.5 x 33 cm, ws 16.5 x 29.5 cm, 35 lines; pb Mohammad‘Hosein Kashani; pr Kerbela’1 Mohammad-Hosein. Holdings: *PC.

1366/1946; pp. 242; 21 x 35 cm, ws 16.5 x 32.5 cm, 37 lines; scribe Mohammad

Sane‘i Kh’ansari; 8 ills. by Mohammad Sane’ Kh’ansari; pb (hasb al-farmayesh-e) Aga Mirza ‘Abd al-Rahim ‘Elmi; pr Aqa Mirza ‘Abd al-Rahim ‘Elmi. Holdings: *PC.

Vasilat al-najat; martyrological work by Mohammad-Hosein b. Mohammad-Reza (13th/19th century). Dharva 25: no. 472; Fehrest: col. 3361. 1284/1867; ff. 152; 20 x 32 cm, ws 15 x 26.5 cm, 22-23 lines; scribe Abu I-Hasan b.

‘Abdallah Kh’ansari; 11 ills. by Mirza Hadi, Musa (b. Mosannef) (figs. 67.13, 68); pb Akhund Molla Gholam-Reza; pr Kerbela’i Mohammad-Qoli, Kerbela’i Mohammad-Hosein Tehr4ni. Holdings: LBL 14779.k.10. (Edwards 1922: col. 487); *PC.

Yusof va Zoleikha; popular versified rendering of a biblical theme, here attributed to Ferdousi (died ca. 11/1020). Dhara 25: no. 196; Fehrest: col. 3460; Marzolph 1994a: no. L.

s.a.; ca. pp. 140; 13 x 21.5 cm, ws 11.5 x 20 cm including diagonal writing on the margins, inner frame 8 x 13 cm, 17 lines; 38 ills. Holdings: *PC (fragmentary).

1271/1854 Tabriz; ff. 65; 16 x 22 cm, ws 12 x 20 cm including diagonal writing on the margins, inner frame 8.5 x 13.5 cm, 17 lines; scribe Shafi’ Tafreshi; 43 ills. (fig. 34.1); pb (be-hosn-e ehtemam-e) Kerbelai ‘Abedin; pr Mashhadi Abu 1-Hasan. Holdings: *PELOJJ II 13.

SOURCES

268

ills. (fig. 34.2); 1279/1862; ff. 62; scribe Mohammad-Bager b. Mohammad-Hasan; 20 pb (hasb al-farmayesh-e) Mashhadi Asadallah, Mohammad-Reza. is

Holdings: *BSPK Zv 1415/18; *TKM 5200.

1299/1881; pp. 233; 16 x 21.5 cm, ws 12.5 x 19.5 cm including diagonal writing on the margins, inner frame 8.5 x 13 cm, 15 lines; scribe Mirza Mohammad-Reza “Safa” b. Mirza Habiballah Mahallati “Khaqani”; 17 ills.; pr Dar al-Fonun.

Holdings:

LBL

14787.b.11.

(Edwards

1922: col. 254); PELO

OR IDO

3RG; ¢cf

Catalogue Schefer 1899: no. 828.

1316-17/1898-99; pp. 167; 16.5 x 21.5 cm, ws 12 x 18.5 cm, 21 lines; scribe Mohammad-Hosein al-Qashani [!]; 18 ills. (fig. 34.3); pb Mohammad-Hosein alKashani. Holdings: MAQ (Fazel Hashemi 1377: no. 237); *PC.

Ketab-e Yusofiyye; an interpretation of the story of Yusof and Zoleikha, and its comparison with the tragedy of Kerbela’, by Mirza Hadi b. Abu l-Hasan Na ‘ini, achieved in 1243/1827. Dharva 25: no. 242; Fehrest: col. 3461. Sia ste 40; Nororx 22 Cin wel Xulig cima ines: ols: Holdings: *LBL 14783.d.4.(4.) (Edwards 1922: col. 466).

1261/1845; ff. 88; 14 x 21.5 cm, ws 10 x 17 cm, 15 lines; scribe ‘Ali-Akbar al-Sharif; 39 ills.; pb Molla ‘Ali. Holdings: *SPOI Ps II 223 (Shcheglova 1975: no. 182).

1269/1852; ff.

51; 23 lines; scribe Mohammad-Bager al-Tabib al-Kh*ansari; 17 ills. by

Mirza Mahmud Kh’ansari. Holdings: *TKM 5510; *PC.

1270/1853; ws 12 x 17 cm, 23 lines; scribe Mohammad-Sadeq b. Abu |-Hasan Golpayegani; 18 ills. Holdings: *BSPK Zv 2121/100.

1281/1864; ff. 44; 16 x 21.5 cm, ws 14.5 x 19 cm including one line of text on the upper and outer margins, 20 lines; 5 ills.; pb (hasb-e kh’ahesh-e, be-sa‘y va ehtemam-e) Mohammad-‘Abdallah b. Aqa Hosein al-Kh’ansari; pr Molla ‘Abbas-‘Ah. Holdings: *TKM

5988; *PC.

1328/1910; ff. 42; 16 x 21.5 cm, ws 14.5 x 19 cm including one line of text on the

. upper and outer margins, 20 lines; scribe Mohammad-‘Ahi b. ‘Ali- Mohammad al-Estahani, 7 ills. by Mahdi-Khan; pb (be-sa‘y va ehtemam-e) Mirza Zein al‘Abedin. Holdings: *PC.

Kafar-name-ye Naser + Nosrat-name Zarir-e Khoza%: anonymous popular romance. 1265/1848; ff. 28; 16 x 22 cm, ws 11.5 x 19 cm including diagonal writing on the margins, inner frame 7.5 x 13.5 cm, 15 lines; scribe Gholam-Hosein b. ‘AliAkbar;15 ills. (fig. 128.3). Holdings: *PELOJJ X 43; cf. Catalogue Schefer 1899: no. 1071.

SOURCES

269

1268/1851 (Tabriz?); ff. 24; ca. 14 x 20 cm, ws ca. 11 x 17 cm including diagonal writing on the margins, inner frame 8 x 11 cm, 15 lines; 9 ills. Holdings: *SPOI Ps II 104 (Shcheglova 1975: no. 1573).

1270/1853; 14.5 x 21 cm, ws 11.5 x 19 cm including diagonal writing on the margins, inner frame 8 x 12 cm, 15 lines; 9 ills. Holdings: *BSPK Zv 2059.

Ziba va Ra‘na (Ra‘na va £1ba), romance in verse by Barkh’ordar b. Mahmud Torkmani Farahi “Momtaz” (early 12th/18th century). Dhari‘a 11: no. 1471; Fehrest: col. 1736. 1295/1878 Mashhad; pp. 112; 16 x 20 cm, ws 12 x 17 cm, 22 lines; scribe ‘Ali b.

Mohammad-Hasan “ar-Raqem”; 33 ills.; pb (be-sa‘y va ehtemam-e) MohammadEsma‘il Haravi b. Hajji Aqa Kuchek; pr Aga Mirza Rafi‘ Tabrizi. Holdings: *PC.

1327/1909; pp. 47; 15.5 x 21.5 cm, ws 14.5 x 19 cm, 21 lines; pb (hasb al-kh’ahesh-e) Mirza ‘Alh-Akbar Tehrani; pr Khodadad Mashhad. Holdings: *PC (fragmentary).

8.2. In Chronological Order In the chronological index to the analyzed sources some 30 works with unknown or uncertain dating (s.a.) have been omitted. For the sake of lucidity, only the catchword titles of the alphabetical list are given. Books whose preparation is known to have extended over a number of years are listed under the (final) year of publication. 1259/1843

1267/1850

Leili va Majnun 1261/1845 Anvar-e Soheih Mokhtar-name

Akhbar-name Anvar-e Sohe

Yusofiyye 1262/1845

Shah-name-ye Ferdousi Tarassol

Farhad va Shirin Qanun-e nezam

Dozd va qazi-ye Baghdad

1268/1851

Lei va Majnun

Akhlag-e Mohsen

Shah-name-ye Ferdousi Tarassol (2) 1263/1846

.

Asrar al-shahada Chehel Tuti Jang-name-ye Mohammad-e Hanaftye

Anvar-e Soheli

Khezr va Hazrat-e Amir

Bakhtyar-name

Me‘raj-name

Chehel Tuti

Nush-Afarin

Daftar Dalle-ye Mokhtar Farhad va Shirin Hormoz va Gol Maales al-mottagin Nush-Afarin (2) 1264/1847 ‘Ajaeb al-makhlugat Chehel Tutt (2) Hamle-ye Heidariye Khamse-ye Nezam Khosrou-e dwzad Nush-Afarin 1265/1848

Sadi Tarikh-e Naderi Zarir-e Khozat 1269¥% 1852 ‘Aqa’ed al-shi‘a Faregh-e Guan Hafez Hamle-ye Heidariye Jame‘ al-tamsil Sad Tufan al-boka@’ Yusofiyye 1270/1853 ‘Aqa’ed al-shi‘a

- Hosein-e Kord

—

Bahram va Golandim

Mosevyab-name

Faregh-e Gilani

Karr-e Khozat

Farrokh-Shah

1266/1849 ‘Aqa@ ed al-shi‘a Males al-mottagin

Golestan-e Eram Hamle-ye Heidariye Hasanein

Matamkade

Khamse-ye Nezami (2)

Musa

Khosrou-e divzad

Shah-name-ye Ferdousi Soleiman

Mailes al-mottagin

Tarikh-e Nader

Leili va Majnun

Mosevyab-name

SOURCES Nassq va Nayar Qahraman-e qatel Reyaz al-mohebbin Yusofiyye Karir-e Khoza1

1271/1854 ‘Aqa@ed al-shi‘a Bist bab-e Molla Mozaffar Jaime al-moJezat Khezr va Hazrat-e Amir

Majales al-mottagin Me‘raj-name Moseiyab-name Parishain-name Salim-e Favahen Sharuye Tagdis -Tufan al-boka@ (2)

Yusof va Zoleikha 127 27ASoo Alf leila va leila Sa‘di (2) Tufan al-bok@ (2) 127371856 Hadis Hazrat-e Amir Jame al-tamsil Jang-name-ye Emam Hasan Musa Nush-Afarin Soleiman 1274/1857 Anvar-e Soheili ‘Aqa@ ed al-shi‘a Asrar al-shahada Chehel Tutt Eskandar-name Faregh-e Gilam Mapales al-mottaqin Matamkade Quhraman-e qatel

Sa‘di (3) 1275/1858 Alf leila va leila Chahar darvish

Fame al-tamsil

Khavar-name Khavass al-hayavan Naz va Neyaz

Nosrat-name Qahraman-e qatel Rend va Kahed

Shah-name-ye Ferdousi Shiruye Taqdis

Tufan al-boka’ 1276/1859 Bist bab-e Molla Mozaffar Hosein-e Kord Jame al-tamsil (2)

Khamse-ye Nezam Lei va Majnun Me‘raj-name Nassqy va Naja Qesas al-anbey@” Romuz-e Hamze

Sadi Shiruye Tankh-e Naden 1277/1860 Anvar-e Soheili Asrar al-shahada

Hamle-ye Heidariye

Shiruye Tankh-e Naden Tufan al-boka’ 1278/1861 Tohfat al-majales 1279/1862 Asrar al-shahada Bakhtyar-name Rostam-name Sadi

Yusof va Kolevkha 1280/1863 ‘Aqaed al-shi‘a Hosein-e Kord

Jame al-tamsil Jwvther al-‘oqul Khavar-name Sad

272

SOURCES

Shiruye Taqdis Tohfat al-zakerin Tufan al-boka’ 1281/1864

Anvar-e Sohet Farhad va Shirin

Tufan al-boka’ Yusofiyye 1282/1865 Bist bab-e Molla Mozaffar Kalile va Demne 1283/1866

aca

1293/1876 Alf lela va lea Jame al-tamsil Nush-Afarin 1295/1878

Dozd va qazi-ye Baghdad Kolsum-nane

Lata'efva zara ef Shah-name (in prose) Kiba va Ra‘na 1296/1878 Sadi Tufan al-boka’

‘Ajaeb al-makhlugat Asrar al-shahada Hamle-ye Heidariye Jame al-tamsil

1297/1879 Chahar darvish Mosewyab-name Qesas al-anbeya’

Khavass al-hayavan

1298/1880

Tarassol 1284/1867

Anvar-e Soheili Khosrou-e dwzad

Asrar al-shahada

Lata’ef va zara’ef

Eskandar-name Hafez

Mush va gorbe Pandwyat (...)

Mokhtar-name

Vasilat al-najat 1285/1868 Golestan Fame al-tamsil Sadi 1286/1869

Reyaz al-mohebbin

1299/1881 Chehel Tuti Haft ketab Kanz al-eshteha’ Khale-ye Suske Khorus va rubah

‘Aqaed al-shi‘a

Molla Nasr al-Din (2)

Tankh-e Naderi

Nush-Afarin

1287/1870 Asrar al-shahada Golestan

» Khamse-ye Nezami

Yusofva Zoleikha 1300/1882 Chehel Tuti

Dalle-ye Mokhtar

1288/1871 Tarikh-e Naderi

Hevdar- Beg Khale-ye Qurbage

1289/1872 Qesas al-anbeya’ 1291/1874 Hosein-e Kord Meé‘raj-name

Khavar va Bakhtar Mokhtar-name Salim-e Favaheri Toube-ye Nasuh Tufan al-boka’

Sadi

1292/1875 Asrar al-shahada

1301/1883

Alef Ba-Ta’ Anvar al-shahada Jwaher al-‘ogul

SOURCES Khale-ye Qurbage (2) Khamse-ye Nezami Montakhab al-hekayat Qaza va gadar 1302/1884 Chin va Khata

1303/1885 jam-e gitinama Nan va Halva

1304/1886 Kalile va Demne Sadi

Shah-name (in prose) , 1305/1887 Chehel Tuti Khavass al-hayavan 1306/1888 Boshaq-e at‘eme

Lalerokh

Qahraman-e qatel Salim-e Favaheni 1307/1889

Alf lela va lela Chahar fasl-e Meikade

Khale-ye Suske Masnavi Qesas al-anbeya@? Shah-name-ye Ferdousi Tadd al-atfal 1308/1890

Habib al-ousaf 1309/1891

Eskandar-name Masnavi-ye atfal 1310/1892

‘Aja’eb al-makhlugat Eftekhar-name-ye Heidan Eskandar-name Sadi 1312/1894 Hamle-ye Heidariye Sadi 1313/1895 Jame al-tamsil 1314/1896 Kolsum-nane

Reyaz al-mohebbin Taqdis Tankh-e Zelzele-ye Quchan

1315/1897 Alf leila va leila Dozd va gazi-ye Baghdad Ganjine-ye asrar Kalle va Demne 1316/1898 Eskandar-name

Khamse-ye Nezami Shah-name-ye Ferdoust 1317/1899 Amur Arsalan Yusofva Zoleckha 1318/1900 Hezar dastan

Rostam-name 1319/1901 Hosein-e Kord

Nush-Afarin 1320/1902

Alf leila va leila Diwan-e Lvali 1321/1903 Alef-Ba-Ta@’ Jame‘ al-tamsil Khamse-ye Nezami 1322/1904 Amur Arsalan Khosrou-e divzad

Shah-name-ye Ferdousi 1323/1905 Shiruye (2) 1324/1906

Bahr al-fava’ed 1326/1908 Falak-Naz

1327/1909 Kalile va Demne Kuba va Ra‘na 1328/1910

Yusofiyye 1329/1911

Akhlag-e asasi Bahram va Golandam

214 Ketab-e fudi 13317 1O}2 Akhlaq-e Mohsen [33271913 Badv‘ al-molk Chehel Tut 1334/1915 Alf leila va lela 1348/1929 Hosein-e Kord 1352/1933 Hormoz va Gol Khamse-ye Nezami

SOURCES 1354/1935 Amur Arsalan

Nush-Afarin 1356/1937

Eskandar-name

Shiruye 1357/1938 Eskandar-name 1359/1940 Romuz-e Hamze 1366/1946

Mokhtar-name

Tufan al-boka’

9. INDEX OF NAMES MENTIONED IN THE SOURCES 9.1. Scribes ‘Abbas-‘Ali, Mirza 1275/1858 ‘Abbas-‘Ali Tafreshi

1283/1866 1287/1870 ‘Abdallah Tafreshi, Seiyed, 1274/1857 1274-76/ 1857-59

Nosrat-name

‘Aja’eb al-makhlugat Golestan-e Sa‘d Faregh-e Gilani Romuz-e Hamze

‘Abd al-Ghaffar al-Hamadani 1303/1885 Nan va Halva 1307/1889 Ta'db al-atfal 09107 L389 1-92 ‘Aja’eb al-makhlugat ‘Abd al-Hamid Tafreshi “Safa” 1266/1849 Matamkade Me LO7 ABs. Golestan-e Eram ‘Abd al-Hosein b. ‘Abbas Faridani Esfahani 12757 1858 Khavass al-hayavan ‘Abd al-Hosein b. Ebrahim 1268/1851 Asrar al-shahada ‘Abd al-Hosein Faridani

1276/1859 Khamse-ye Nezam ‘Abd al-Hosein al-Shishjani al-Esfahani 1271/7 1654 Taqdis ‘Abd al-Rahman b. Mohammad-Ja‘far Shirazi

1268-91/1851-74 Sadi ‘Abd al-Samad b. Molla Mohammad-Reza Khorasani

1269/1852

Hamle-ye Heidariye

Abu |-Hasan b. ‘Abdallah Kh’ansari 1284/1867 Vasilat al-ngat

Abu |-Qasem b. Molla Ahmad al-Kh*ansari 1286/1869 ‘Aqaed al-shi‘a Ahmad b. ‘Ali al-Eshkevari 133271913 Bad‘ al-molk ‘Ali b. ‘Abdallah al-Tehrani 1274/1857 Sad

‘Ali Delkhun b. Mohammad-Javad Tabrizi, Mirza 1316/1898 ‘Ali b. Esma‘il al-Esfahani

1334/1915

Shah-name

Alf leila va leila

INDEX OF SCRIBES

276

‘Ali al-Hoseini Golpayegani, Seiyed | oni Anvar-e Soheilt 1298/1880 Seryed Shirazi”, ‘Ali al-Hoseini al-Sharifi al-Zahabi b. Aqa Mirza Abu l-Qasem “Mirza Baba 13:27/ 1909 Kalile va Demne ‘Ali b. Javad 1314/1896 ‘Ahi al-Kh’ansari

Reyaz al-mohebbin

1263/1846

Males al-mottagin

‘Ali b. Mohammad-Hasan 1295/1878 ‘Ali-Akbar ““Eshqi”

132171903

“ar-Raqem” Kuba va Ra‘na

Jame al-tamsil

‘Ali-Akbar al-Sharif 1261/1845 ‘Ali-Akbar b. Yusof-Khan 1322/1904 ‘Ali-Aga b. Mohammad-‘Ali 1280/1863 ‘Ahi-Asghar b. ‘Ali-Akbar 13938-2797 1.010411 1329/1911

Yusofiyye Amur Arsalan al-Kh’ansari Aqa@ed al-shi‘a Ketab-e Fudi Bahram va Golandam

‘Ali-Asghar Tafreshi 1263/1846 1263/1846

Daftar Nush-Afarin

1263/1846

Dalle-ye Mokhtar

1264/1847

Hamle-ye Heidariye

1264/1847

Khamse-ye Nezami

1267/1850 1269/1852

Anvar-e Sohail Faregh-e Gilam

ASE INO) Me

Paso)

1283-85/ 1866-68 ‘Ali-Mohammad Mo‘allem 1313-14/1895-96 ‘Ali-Mohammad al-Shirazi 1268/1851

Khamse-ye Nezami Sadi Taqdis

Chehel Tutt ‘Ali-Naqi b. Mirza Mohammad-Taqi Taleqani 1308-09/1890-91 Eskandar-name 1312-15/1894-97 Alf leila va leila 1316/1898 Eskandar-name ‘Ali-Reza b. ‘Abbas-‘Ali al-Kh’ansari

1276/1859 1276/1859 Aqa b. ‘Abd al-Rahim 1287/1870

Jame al-tamsil Bist bab-e Molla Mozaffar Asrar al-shahada

‘Askar-Khan b. Hosein-Beg Ordubadi Tabrizi Tarikh-e Naderi 1266/1849

INDEX OF SCRIBES 1275/1858 1277/1860 Daud al-Golpayegani 1314-15/1896-97

Shah-name Tankh-e Naderi Kalile va Demne

Ebrahim Chavush Tehrani

1274/1857 ‘Emad al-Kottab 1319-22/1901—04 ‘Enayatallah 1263/1846 Esma‘l al-Golpayegani 1277/1860

Asrar al-shahada Shah-name Bakhtiyar-name Shiruye

Esma‘il-Mohammad Kh’ ansari

1286-1303/1869-85 Farajallah Tafreshi 1289-93/1872-76 Fathallah “Jor‘e” 1267/1850 Fathallah Mohammad 1356/1937

Fam-e gitinama Alf leila va leila Farhad va Shirin Kh’ ansari Shiruye

Fathallah Shirazi

1270/1853

Nass va Nayar

Fath-‘Ali b. Aga ‘Ali- Mohammad Kh’oshnevis Shirazi 1270/1853 Mosewab-name Fazlallah Hamadani, Mirza 1274/1857 Chehel Tuti Gholam-Hosein b. ‘Ali-Akbar

1265/1848

Karir-e Khoza%

Hasan b. Mohammad-B4ager al-Kh’ansari, Mirza

129771679 Qesas al-anbeya’ Hasan-Qoli Sani‘ (...), Mirza 1298/1880

Hedayatallah Qazvini 1274/1857

Khosrou-e diwzad

Qahraman-e qatel

Hosein b. Mohammad-Ha4shem al-Musavi al-Kh’ansAari

1280/1863

Jaaher al-ogul

Hosein Shahenshashani 1359/1940

Romuz-e Hamze

Hosein al-Tafreshi 1314/1896 Kolsum-nane Hosein-‘Ali b. ‘Abdallah-Khan

1319/1901

Hosein-e Kord

1320/1902

Alf leila va lea

‘Isa b. Mohammad Mahdi

1306/1888

Salim-e Favahen

OT,

INDEX OF SCRIBES

278

Ja‘far al-Khorasani 1271/1834: Ja‘far-Qoli Faridani s.a. L377 1899 TSIZ=lo 7804-97

Mosewyab-name

Mo‘ezat-name Amur Arsalan Alf leva va lela

Karim b. Sheikh ‘Abd al-Hosein Faridani Sadi 1295-96/1878

Khanejan Kh*ansari Jam-e gitinama 1286-13037 1869-65 Khavass al-hayavan 1305/1887 Mahdi (b.) ‘Abd al-Mohammad Qazvini Toube-ye Nasuh 1300/1882 Mahdi Hamadani, Seiyed Eskandar-name. 27357 4/1856-5 7 Mahdi b. Molla ‘Abd al-Muttalib Qazvini Khorus va rubah 1299/1881 Mahmud b. Mohammad al-Kh’ansari IBL9A1901 Nush-Afarin

Mirza-Aqa b. Mirza Esma‘ll Shirazi L2G /N S54

Mirza-Aqa Kamre’i 8.a. 1I268--09/41351-52 1268-91/1851-74 1270/1653 1274/1857 127671859 i218 -CO71 661-63 1281/1864 1283/1866 1286-87/ 1869-70 1293/1876 1300/1882

Parishan-name

Hamle-ye Heidariye

Sadi Sad Hamle-ye Heidariye Matamkade Jame al-tamsil Sadi Farhad va Shirin Hamle-ye Heidariye Khamse-ye Nezami Jame‘ al-tamsil Heidar-Beg

1308/1890 Hahib al-ousaf Mohammad-‘Ahi (Vaziri) b. Mirza Setyed Mohammad Mostoufi (Shirazi), Mirza Setyed 1326/1908 Falak-Naz 135271933 Hormoz va Gol 13547 W935 Amur Arsalan 1354-96/1935=37, Eskandar-name 1356/1937 Shiruye 1357/1938 Eskandar-name Mohammad (...) b. ‘Abd al-Muttalib 1297/1879 Chahar darvish Mohammad al-Kh’ansari

1263/1846

Nush-Afarin

INDEX OF SCRIBES Mohammad b. Mohammad-Naqi Kh’ansari 1271/1854 Tufan al-boka’ Mohammad Sane‘ b. Fathallah Kh’ansari 1394--967.1935—37 Eskandar-name 1366/1946 Tufan al-boka@ Mohammad-‘Ahi

1271/1854 A374) 856-57 1276/1859 1321/1903 1359/1940

‘Aga’ed al-shi‘a Eskandar-name Qesas al-anbeya’ Alef-Ba-Ta’ Romuz-e Hamze

Mohammad-‘Ahi b. ‘Abdallah-Beg Jarrahbashi Tehrani 1272/1855 , Alf leila va lela Mohammad-‘Ali b. ‘Ali-Mohammad al-Esfahani 1328/1910 Yusofiyye Mohammad-‘Ali Nashali 1276/1859 Let va Majnun Mohammad-‘Alhi Tabrizi 1305/1887 Chehel Tutt 1306/1888 Qahraman-e qatel Mohammad-‘Ali Tehrani 1268/1851 Nush-Afarin 1274-76/1857-59 Romuz-e Hamze

1275/1858

Rend va Kahed

127.57 1858

Taqdis

Mohammad-‘Ali b. Zein al-‘Abedin al-Kh’ansari 1320/1902

Laval

Mohammad-Bager Golpayegani 1277/1860 1285/1868 1301—04/ 1883-86 1304/1886

Anvar-e Soheili Jame al-tamsil Sadi Kalile va Demne

Mohammad-Bager al-Kamre’1, Sheikh Tohfat al-majales 1278/1861 Mohammad-Bager b. Mohammad-Hasan Esfahan Hezar distin 1317-187 1899-1900 Mohammad-Bager b. Molla Mohammad-Hasan Kh’oshnevis Kh’ans4ri Anvar-e Soheili 1261/1845 Jame al-tamsil 1269/1852 Shiruye 1271/1654 Jame al-tamsil 1273/1856 Jame al-tamsil 1275/1858 Shiruye 1275/1858 Hosein-e Kord W27GG1S59 Shiruye 1276/1859 Bakhtiyar-name 127971862

219

INDEX OF SCRIBES

280

127971862

Yusofva Zolekha

1279-83/ 1862-66 1283/1866 1284/1867 1292/1875 Mohammad-Bacer al-Tabib

1269/1852

Khavass al-hayavan Asrar al-shahada Asrar al-shahada Asrar al-shahada al-Kh’ansari

Yusofiyye

Mohammad-Esmaill b. Molla ‘Ali-Akbar al-Shahrudi 1312/1894 Hamle-ye Heidaniye

Mohammad-Esma‘ll Golpayegani 1280/1863 Shiruye Mohammad-Esma‘ll al-Kh’ansar1 1301/1883 Khale-ye Qurbage 1298/1880 Mush va gorbe Mohammad-Hasan b. Abu ]-Qasem Kh’ansari 1295/1878 Kolsum-nane

129571378

Dozd va qazi-ye Baghdad

1299/1881]

Kanz al-eshteha’

1300/1882 1301/1883

Dalle-ye Mokhtar Montakhab al-hekayat

Mohammad-Hasan b. Esm4@‘ll al-Kh’ansari 12737 1856 Soleiman Mohammad-Hasan al-Golpayegani Ye Molla Nasr al-Din

Mohammad-Hasan b. Mohammad-‘Ali al-Golpayegani al-Jorfadaqani 1306-07/ 1888-89 Masnan Mohammad-Hosein Kh’ansari b. Mohammad-Shafi‘

1309-107 1391-92

‘Aja’eb al-makhlugat

Mohammad-Hosein Haravi 1320-24/ 1902-06 Bahr al-fava’ed Mohammad-Hosein b. Molla Mohammad al-Ashtiyani al-Qomi 1268/1851

Tankh-e Naderi

1286/1869

Tarikh-e Naden

Mohammad-Hosein al-Qashani 1316-17/1898-99 Yusofva Zoletkha Mohammad-Ja‘far al-Golpayegani

1270/1853

Qahraman-e qatel

1274/1857

Sad

1274-76/ 1857-59

Romuz-e Hamze

12757 11858

Alf leila va leila

Mohammad-Mahdi Golpayegani 1306/1888

Boshaq-e at‘eme

1307/1889 Mohammad-Mahdi

1299/1881

Chahar fasl-e Meikade Qazvini

Khale-ye Suske

INDEX OF SCRIBES

281

Mohammad-Mahdi al-Shafi'i al-Esfahani 1348/1929 Hosein-e Kord

Mohammad-Qoh b. Kerbela’i ‘Abbas-Qoli al-Kharaqani 1307/1889 Qesas al-anbeya’ Mohammad-Rahim Hamadani “Mozahheb” 1280/1863 Tohfat al-zakerin Mohammad-Reza b. ‘Abd al-Ghaffar Kh’ansari 1272/1855 Tufan al-boka’ Mohammad-Reza b. ‘Ali-Akbar al-Kh’ansari 1274/1857 Matamkade

Mohammad-Reza Kalhor, Mirza 1270/1853 Reyaz al-mohebbin Mohammad-Reza al-Kh’ansari 1277/1860 Tufan al-boka’ Mohammad-Reza “Safa” Soltan al-Kottab b. Hajji Mirza Habiballah Mahallati Khaq4ni, Mirza

1299/1881 1299-13007 1881-83

Yusofva Zoleikha Khamse-ye Nezam

1307/1889 1308-12/1890-94

Shah-name Sadi

13097 1891 1310/1892 1310/1892

Masnavi-ye atfal Eftekhar-name-ye Heidan Sadi

Mohammad-Sadeq b. Abu |-Hasan al-Hoseini al-Golpayegani

1270/1853 1277/1860

Yusofiyye Hamle-ye Heidariye

1279/1862 Asrar al-shahada Mohammad-Sadeq b. Mirza Mohammad-Hosein

Golpayegani, Seiyed

1284/1867 Hafez 1304/1886 Kalle va Demne Mohammad-Shafi‘ b. Mirza ‘Abd al-Ghani Tafreshi 1277/1860 Asrar al-shahada

Mohammad-Taqi 1321-—22/1903-04

1323/1905 1332/1913 Moharrer ‘Ali 1289-93/1872-76

Khosrou-e divzad

Shiruye Chehel Tutt Alf leila va lela

Mortaza Hoseini Baraghani 1300/1882 Khavar va Bakhtar 1310/1892 Sadi 1329/1911 Akhlaq-e asasi Mostafa b. Mirza ‘Abd al-Rasul Marandi Tabrizi 1288/1871 Tarikh-e Nadeni Mostafa-Qoli ‘Attar b. Mohammad-Hadi Soltan Kajyuni 1265-67/ 1848-50 Shah-name

INDEX OF SCRIBES

282 1267-68/1850-51 1268-69/1851—-52

126971852 1269/1852 1270/1853

Sad Sadi ‘Agq@ed al-shi‘a

Hafez

Khamse-ye Nezam

Najaf-“Ali Shahrudi 1309-1071891-92

Eskandar-name

Nasrallah Qajar Tabrizi Khamse-ye Nezam 1320-2171. 902-03 Nasrallah Tafreshi Kaburani Lei va Majnun 1262/1845 Anvar-e Soheili 1263/1846 ‘Ajaeb al-makhluqat 1264/1847 Mosewab-name 1265/1848 Me‘raj-name 1271/1854 Khezr 1271/1854 Eskandar-name 1273-74/1856-57 Eskandar-name 1283-84/ 1866-67 Ne‘mat, Mirza Akhlag-e Mohsen 1331/1912 Rahmatallah-Soltan 1273-74/1856-57 Eskandar-name Reza b. Ahmad al-Hoseini al-Shirazi 1262/1845 Shah-name 1266/1849 Shah-name Sadeq al-Hoseini 1280/1863 Taqdis Seifallah al-Kh’ansari 1275/1858 Naz va Neyaz Samad b. Ahmad Tabrizi 1309-10/1891—92 Eskandar-name Shafi‘ Tafreshi 1271/1854 Yusof va Koleikha Taher b. Ahmad al-Kashani 1306-07/1888-89 Masnan Yahya b. Mohammad-Hasan al-Hoseini al-Kh’ansari 1366/1946 Mokhtar-name Yusof al-Hoseini al-Musavi b. Mirza Mohammad b. Mirza Mohammad-‘Ali b. Mirza Zein al-

‘Abedin b. Mirza Sharif Qazvini “Safa” 1316/1898 Khamse-ye Nezami

Yusof Milani, Setyed 1259/1843

Let va Majnun

INDEX OF PUBLISHERS

9.2. Publishers ‘Abbas b. Hayi Mohammad, Aqa 1284/1867 Asrar al-shahada ‘Abbas-‘Ahi 1309-10/1891-92 E’skandar-name ‘Abbas-‘Ahi, Haji 1287/1870 Asrar al-shahada ‘Abbas-‘Ahi, Molla 1261/1845 Anvar-e Sohei 1263/1846 Anvar-e Soheil 1270/1853 ‘Aqa’ed al-shi‘a 1271/1854 ‘ Moseiyab-name M2927 1859 Sad 1277/1860 Asrar al-shahada ‘Abbas-‘Ali b. Mohammad-Hashem Shirazi, Mirza I2FIS 1854 Parishan-name ‘Abdallah, Molla 1299/1881 Nush-Afarin ‘Abdallah b. Mashhadi Soleiman Tabrizi, Molla 1274/1857

‘Abd al-Hosein 1310/1892 ‘Abd al-Khaleq 1271/1854

Mayjales al-mottagin

Sah

Majales al-mottaqin

‘Abd al-Rahim ‘Elmi b. Aga Esma‘il ‘Elmi, Aqa Mirza 1326/1908 1366/1946

Falak-Naz Tufan al-boka’

‘Abd al-Rasul Eslambuli 1309-10/1891-92

Eskandar-name

‘Abd al-Samad, Mirza 1266/1849

Tankh-e Naden

‘Abedin, Kerbela’i 1271/1854 27 NBO

Sadi

Yusof va Koleckha

Abu |-Hasan, Mirza Hosein-e Kord 1276/1859 Abu |-Hasan b. Akhund Molla Zein al-‘Abedin Kh’oshnevis Hamle-ye Hevdariye 1283/1866 Jame al-tamsul 1285/1868

Abu |-Qasem Kh’ansari, Aqa Seiyed 1276/1859 1284/1867 1286-877 1869-70 1298/1880 1298/1880

Hosein-e Kord

Hafez Khamse-ye Nezami Pandwyat Reyaz al-mohebbin

283

INDEX OF PUBLISHERS

284

Abu Yusof Mashhadi 1307/1889 Ahmad, Aga Mirza 1273/1856 Ahmad, Mashhadi 1300/1882 Ahmad, Seiyed 1329/1911 1354/1935 Ahmad, Sheikh 1328-297 1910-11 Ahmad Jula (?), Molla 1301/1883 Ahmad Kh’ansari, Seiyed $278-80/1861-63

Ta'dib al-atfal Fame al-tamsil

Chehel Tut Bahram va Golandam Amir Arsalan Ketab-e Fud Qaza va qadar

Sad : Ahmad b. Mirza Mohammad-‘Ahi Shirazi, Seiyed Mokhtar-name 1366/1946

Ahmad-Aqa “Mo’ayyad al-‘olama” Tabrizi 1334/1915 ‘Ali, Aga 1306/1888

Alf leila va lela Boshaq-e at‘eme

‘Ah, Molla 1261/1845 12737 1856

Yusofiyye Nush-Afarin

‘Ahi, Sheikh US23-2O719T0=1 |

Ketab-e Fudi

‘Ah Esfahani, Molla 1269/1852 ‘Al Kh’ansan, Kerbela’i 1274/1857 1280/1863 ‘Ah Sabhaf, Haji 1280/1863 ca

Faregh-e Gilani Matamkade

Taqdis

Khavar-name ‘Ali-Akbar b. Molla Hosein al-Kh’ansari 1275/1858 Jame‘ al-tamsil

1276/1859 ‘Ali-Akbar Tehrani, Mirza

1327/1909 ‘Ali-Aqa, Haijji 1316/1898 1320-21/1902-03

Bist bab-e Molla Mozaffar

Kiba va Ra‘na

Shah-name Khamse-ye Nezami ‘Ali-Naqi b. Mohammad-Ebrahim 127571695 Alf leila va leila ‘Ah-Qoli-Khan, Kerbela’i 1283-85/ 1866-68 Sad

INDEX OF PUBLISHERS Allah-Qoli-Khan Qajar 1294-96/1877-78 Allahvardi, Mashhadi 1288/1871 Asadallah, Mashhadi 1279/1862

Tufan al-boka’ Tankh-e Naderi Yusof va Zoleikha

Asadallah, Mirza

M27 32=74/1856-57

Eskandar-name

Aqa b. Hajji Esma‘l, Haji Ba: Aqa Mohammad-Esma‘ll 1318/1900

Aqaed al-shi‘a

Rostam-ndme

Baba Esfahani, A-Mirza 1274/1857

Asrar al-shahada

Baba b. Hajj al-Haramein Hajji Hosein Kh’ansari, Aqa 1263/1846 Nush-Afarin Baba Kh’ansari, Mirza Pavi2 Fey OOOO 7 1276/1859

Sad Khamse-ye Nezam

Bahram b. Esma‘il Ardabili 1259/1843 Leh va Majnun Bibi Khanom, Hayji 1301/1883 Khale-ye Qurbage

Ebrahim, Aqa Seiyed 1319/1901 Ebrahim, Hajji 1274/1857

Nush-Afarin

Sadi

‘Elmi 1357/1938

Esma‘l, Molla 1306/1888 Esma‘l Kadkami, Mirza 1306/1888 Esma‘l Tehrani, Kerbela’i 1283/1866

Eskandar-name

Salim-e Favaheni

Qahraman-e qatel Asrar al-shahada

Esma‘il-Aga b. Aqa Seiyed Hosein “Aqa” al-Kh’ansari, Seiyed 12977 1379

Moseiyab-name

Farajallah Kh’ansari, Aqa Mashhadi S.A. Gholam-Hosein Shirazi 1276/1859

Hormoz va Gol

Qesas al-anbeya’

Gholam-Reza, Akhund Molla 1284/1867

Vasilat al-najat

Gholam-Reza, Aga Kerbela’i 1277/1860

Hamle-ye Hevdariye

285

INDEX OF PUBLISHERS

286

Gholam-Reza b. Mashhadi Ahmad, Mashhadi 1299/1881 Khorus va rubah Habiballah al-Kh’ansari

1298/1880

Mush va gorbe

Habiballah-Khan

1267/1850

Farhad va Shirin

Hajji-Aga b. Aqa Ahmad Tabrizi, Mashhadi 1275/1858

Shah-name

Hasan, Aqa Sheikh 1316/1898 Khamse-ye Nezam Hasan, Mashhadi 1319/1901 Hosein-e Kord Hasan, Molla 1281/1864 Farhad va Shirin Hasan, Sheikh 1328-29/1910-11 Ketab-e Fud Hasan b. Mirza ‘Abbas, Mirza 1306/1888 Lalerokh

Hasan Kh’ansari, Aqa Seiyed INT V8 54

~

Jaume al-moyezat

Hasan b. Aqa Mohammad, Molla 1289/1872 Qesas al-anbey@?

Hosein, Aqa 1284/1867

Asrar al-shahada

Hosein, Aga Mirza Sid Jang-name Hosein, Setyed 1329/1911 Bahram va Golandam Hosein b. Seiyed Ja‘far Kh’ansari, Setyed 1279/7 1858

Khavass al-hayavan

1286-87/ 1869-70

Khamse-ye Nezami

Hosein Pasha-Khan Amir Bahador

1319-22/1901—04

Shah-name

Hosein Shirazi b. Aqa Mirza Mohammad-‘Ali Shirazi, Aqa Seiyed 1321-22/1903-04

Khosrou-e diwzad

Hosein Tehrani, Aqa Mashhadi 1322/1904 Amir Arsalan Javad, Mirza 1323/1905 Shiruye Mahmud, Kerbela’i 1299/1881

Mahmud, Seiyed 1329/1911 1354/1935

Kanz al-eshteha’

Bahram va Golandim Amur Arsalan

Mahmud Kh’ansari, Aqa Mirza 1306-07/ 1888-89

Masnan

INDEX OF PUBLISHERS Mahmud b. Mirza Mohammad-‘Ali Shirazi, Seiyed 1366/1946 Mokhtar-name “Meftah al-Molk” Mahmud 1301/1883 Alef-Ba’-Ta@’ 1309/1891

Masnavi-ye atfal

Mir Mostafa, Aqa 1297/1879 Qesas al-anbeya’ Mirza, Mashhadi 1300/1882 Dalle-ye Mokhtar Mohammad, Mashhadi 1278/1861 Tohfat al-majales Mohammad b. Molla ‘Ah, Molla 1295-96/1878 / Sad Mohammad Kh’ansari, Molla 1302/1884 Chin va Khata 1310/1892 Sad Mohammad b. Mohammad-Hasan

Kh’oshnevis

1269/1852 Jame‘ al-tamsil Mohammad b. Zein al-‘Abedin (?) 1271/1854 Salim-e Favaheri Mohammad b. Molla Zein al-‘Abedin Kh’ansari, Mirza

1310/1892 Sad Mohammad-‘Abdallah b. Aqa Hosein al-Kh’ansari 1281/1864 Yusofiyye Mohammad-Akbar b. Hay Ja‘far Kh’ansari 1287/1870 Golestan-e Sa‘di Mohammad-Akbar Zaryab, Mirza 1299/1881 Chehel Tutt Mohammad-‘Ali 1282/1865 Bist bab-e Molla Mozaffar Mohammad-‘Ali, Mashhadi 1305/1887 Chehel Tuti Mohammad-‘Ah, Molla

127171854 Me‘raj-name Mohammad-‘Ali b. Mirza Ebrahim Kashani, Mirza 1309-10/1891-—-92 Eskandar-name

Mohammad-‘Ali Shirazi, Aqa Mirza Too/ 1607

Ganjine-ye asrar

Mohammad-Bager Esfahani

1301-04/ 1883-86 Sadr Mohammad-Bager Kh’ansari, Molla 1274/1857 Sadi Mohammad-Bager Shirazi 1266/1849 Shah-name Mohammad-EsmAa‘il b. Molla ‘Al-Akbar Kh’ansari 1312-15/1894—-97 Alf leila va lea

287

INDEX OF PUBLISHERS

288 1314-15/1896-97 1320/1902

Kalile va Demne Alf leila va lea

1321/1903

Jame al-tamsul

Mohammad-Esmaill Haravi b. Haji Aqa Kuchek 1295/1878 Kuba va Ra‘na Mohammad-Esma‘l b. Mohammad-Hasan al-Kh*ansari Sa Molla Nasr al-Din Mohammad-Hadi b. Kerbela’i Mohammad-Hasan Tehrani 1327/1909 Kalile va Demne Mohammad-Hasan 1280/1863 ca. Khavar-name Mohammad-Hasan ‘Elmi, Aga Mirza 5.271933 Hormoz va Gol 1354-56/ 1935-37 Eskandar-name Mohammad-Hasan Kh’ansar1 1276/1859 Jame al-tamsil Mohammad-Hosein

12767 1359

Jame al-tamsil

Mohammad-Hosein, Kerbelai 1283-85/ 1866-68 Sad Mohammad-Hosein, Mashhadi 1314/1896 Tankh-e Zelzele Mohammad-Hosein b. Kerbela’i Mahdi, Aqa

1280/1863

Javaher al-‘ogul

Mohammad-Hosein b. Molla Mohammad Kh’ansari

Pot 15/189 4--9/ 1313-14/1895-96

Alf lela va lela Taqdis

Mohammad-Hosein b. Ramazan-‘Ali Kashani

1300/1882 ca

Tufan al-boka’

1304/1886 1307/1889

Kalile va Demne Shah-name

1307/1889 1316-1771898-99

Chahar fasl-e Meikade YusofvaZoleckha

Mohammad-Hosein Tehrani, Hajji 1265-67/ 1848-50 Shah-name

1270/1853 Khamse-ye Nezami Mohammad-Ja‘far Kh’ansari 1283/1866 Mohammad-Mahdi

1276/1859

Tarassol

Jame al-tamsil

1284/1867 Hafez Mohammad-Mahdi Esfahani 1262/1845 Shah-name Mohammad-Mahdi Qazi Sa‘idi, Aga

1354/1935

Nush-Afarin

INDEX OF PUBLISHERS Mohammad-Mahdi, A-Mirza 1314/1896 Kolsum-nane Mohammad-Noseir Kh’ansari 1279/1862 Bakhtyar-name

1283/1866 ‘Aja°eb al-makhluqat 1286-1303/1869-85 = Fam-e gitinama 1309-10/1891-92 ‘Aja’eb al-makhlugat Mohammad-Noseir, Hajji S.a. Hamle-ye Heidariye Mohammad-Qoh, Kerbela@i 1283-85/ 1866-68 Sadi Mohammad-Rahim Kh’ansari

1313-14/1895—96

‘ Tagqdis

Mohammad-Reza 1279/1862 Yusofva Zolekha Mohammad-Reza, Kerbela’i 1277/1860 Anvar-e Soheili Mohammad-Reza b. Aqa ‘Abd al-Baqi

V2775/ Ve56

Alf leila va leila

Mohammad-Reza b. Aqa Mirza Gholam-Reza, A-Mirza 1314/1896

Kolsum-nane

Mohammad-Sadeq b. Mohammad-Bager Kh’ansari 1274/1857 Faregh-e Guan 1274/1857 1275/1858 1281/1864

Matamkade Tagqdis Farhad va Shirin

Mohammad-Sadeq Kh’ansari, A[q4] 1299/1881

Kanz al-eshteha’

Mohammad-Taqi “Fani”, Hajji 1314/1896

Tarikh-e Zelzele

Mohammad-Taqi al-Kh*ansari 1298/1880 Anvar-e Soheil

Mohammad-Taqi Ma‘refat Kh’ansari 13527 1933 Khamse-ye Nezam Mohammad Zaman, Aqa 1303/1885 Nan va Halva Rajab-‘Ahi, Molla 1283/1866 Asrar al-shahada 1292/1875 Asrar al-shahada Rasul Kh’ansari, Mashhadi 1274/1857 Chehel Tuti

Reza, Aqa 1348/1929 Reza, Mashhadi 1268/1851

Hosein-e Kord A

Nush-Afarin

289

INDEX OF PRINTERS

290 Reza, Mirza 1278/1861 Reza, Molla 1284/1867 Reza Kh’ansari, Mashhadi 1280/1863 1299/1881 Rokn al-Molk 1317-18/1899-1900 Sadeq al-Kh*ansari 1274/1857

Tohfat al-majales

Hafez Tagdis Haft ketab Hezar dastan

Matamkade

Sherkat-e Tab‘-e ketab

Shiruye

1356/1937 1359/1940 Sherkat-e Kanun-e ketab 1357/1938

Romuz-e Hamze Eskandar-name

Toghrol-Tekin Mirza, Prince 1300/1882 Khavar va Bakhtar Zartab Kh’ansari, Mashhadi Mirza 1300/1882 Heidar-Beg

Zein al-‘Abedin, Mirza 1328/1910

Yusofiyye

Zein al-‘Abedin b. Aga Hadi al-Kh’ansari 1276/1859

Qesas al-anbeya@’

Zein al-‘Abedin al-Kerbelai, Molla 1275/1858

Khavar-name

9.3. Printers ‘Abbas-‘Ah, Hayji 1287/1870 ‘Abbas-‘Ali Tehrani, Molla 1262/1845 1266/1849 22/1855 1281/1864

‘Abdallah 1264/1847 ‘Abdallah, Molla 1266/1849 ‘Abd al-Hamid, Mirza 1306/1888

Asrar al-shahada

Lei va Majnun Matamkade Sadi

Tusofyyye Nush-Afarin Tanikh-e Naderi Qahraman-e qatel

‘Abd al-Hosein

1278/1861

Tohfat al-majales

INDEX OF PRINTERS

‘Abd al-Karim, Aga Mirza 1271/1854 Tufan al-boka@’ 1276/1859 Leili va Majnun ‘Abd al-Mohammad al-Razi, Haji 1265-67/ 1848-50 Shah-name ‘Abd al-Mohammad Tehrani

1267/1850

Qanun-e nezam

1267-687 1850-51

Sadi

1274/1857 ‘Abd al-Rahim, Haji 1329/1911

Faregh-e Gilani Bahram va Golandam

‘Abd al-Rahim ‘Elmi, Aga Mirza 1354-56/1935-37 1366/1946

» Eskandar-name Tufan al-boka@’

‘Abedin, Kerbela’i F272) 1393 Abu |-Hasan, Mashhad

1271/1854

Sadi

YusofvaZoleikha

Abu l-Hasan Tehrani, Amir 1317—18/1899-1900 Hezar dastan

Akhund Ketabchi 1366/1946

‘Ahi, Molla 1273/1856 ‘Ali-Akbar, Mirza 1276/1859 1283/1866

Mokhtar-name

Nush-Afarin

Jame‘ al-tamsil Tarassol

‘Ali-Asghar, Aqa Mirza 1320/1902 eS Ane! ‘Ali-Qoli-Khan Qajar 1292/1875 1294-96/ 1877-78 Allah-Qoli-Khan Qajar

Alf leila va leila Akhlaq-e asasi Asrar al-shahada Tufan al-boka’

1268-917/1851-74

Sadi

127071853

Khamse-ye Nezami

1271/1854

Jame‘ al-mojezat

1271/1854

Tufan al-boka’

1274/1857

Sad

127671859 1281/1864 1285/1868

Jame al-tamsil Farhad va Shirin Jaime al-tamsil Golestan-e Sadi Qesas al-anbeya’

1287/1870 1297/1879

Aga Mirza 1322/1904

Amur Arsalan

291

INDEX OF PRINTERS

292 Asad-Agqa, Mashbhadi 1314/1896

Reyaz al-mohebbin

Asadallah Kh’ansari, Mirza Khamse-ye Nezam 1352/1933

Bager, Seiyed 1269/1852 Tufan al-boka’ Dar al-Fonun 1270/1853 Golestan-e Eram 1299/1881 Yusofva Koleckha 1301/1883 Alef-Ba’-Ta@ 1306/1888 Lalerokh ‘Elmi 1326/1908 Falak-Naz Esma‘ll b. Kerbela’i Ebrahim Tabrizi 1263/1846 Chehel Tuti 1264/1847 Chehel Tuti Habiballah, Mirza 1306—-07/ 1888-89 Masnani Habiballah Mashhadi 1302/1884

Chin va Khata

Habiballah Tehrani, Mirza 1312/1894 Hamle-ye Heidariye

Hosein Tehrani, Aqa Seiyed 1310/1892 Khodad[ad] Mashhadi ey beIKe OS)

1328-29/1910-11

Khodadad Tehrani

1319/1901

Sad

Kiba va Ra‘na

Ketib-e Fudi Nush-Afarin

Mahdi, Setyed 1284/1867

Hafez

Mashhadi-Mahdi 1280/1863 ca.

Khavar-name

Mashhadi-Taqi 1295—-96/1878 1300/1882 1304/1886 Muir Bager 1275/1858

Sadi

Dalle-ye Mokhtar Kalile va Demne

Alf leila va leila

Mir Mohammad-Bager, Aqa 1270/1853 Mohammad, Mirza 1286/1869

Reyaz al-mohebbin

Tanikh-e Naderi

Mohammad-Ebrahim, Aga 1317-18/1899-1900

Hezar dastan

Mohammad-Ebrahim Beg 1308/1890

Habib al-ousaf

INDEX OF PRINTERS

Mohammad-Esma‘l, Aqa 131/-18/ 1899-1900

Hezar dastan

Mohammad-Hosein, A[qa] 1268-91/1851-74 1270/1853

Sadi Khamse-ye Nezami

Mohammad-Hosein, Aqa Mirza 1316/1898

E’skandar-name

Mohammad-Hosein Tehrani, Kerbela’i

8.a. 1276/1859 1277/1860 1283/1866 1283/1866 1284/1867 1285/1868 1298/1880 1298/1880 1300/1882 ca

Hamle-ye Heidariye Jame‘ al-tamsil Anvar-e Soheili Hamle-ye Heidariye _ ‘Aja@eb al-makhlugat Vasilat al-naat Jame al-tamsil Reyaz al-mohebbin Anvar-e Soheil Tufan al-boka@

Mohammad-Ja‘far Qomi Tehrani, Aga 1348/1929

Hosein-e Kord

Mohammad-Qoh, Kerbela’i 1279/1862

Asrar al-shahada

1283/1866

Hamle-ye Heidaniye

1284/1867

Vasilat al-ngat

1285/1868

Jame al-tamsul

Mohammad-Reza

1265/1848 Mosewab-name 12707 1853 Moseiyab-name Mohammad-Reza, Mashhadi 1273-74/ 1856-57 Eskandar-name Mohammad-Taqi, Mashhadi 1293/1876 Jame al-tamsil 1299/1881

Kanz al-eshteha’

1300/1882

Heidar-Beg

1300/1882

Toube-ye Nasuh

1301/1883

Montakhadb al-hekayat

1303/1885

Nan va Halva

1310/1892

Sadi

Mohammad-Taqi b. ‘Abd al-Mohammad Tehrani Matamkade 1274/1857

Jaim-e gitinama 1286-1303/1869-85 Mohammad-Taqi b. Allahuri-Beg, Kerbela@’1 1268/1851 Mortaza Tehrani, Seiyed

Tankh-e Naden

1308-12/1890—-94 Mo‘tamed al-Doule

Saad

1261/1845

Anvar-e Soheilt

293

INDEX OF PRINTERS

204

1263/1846

Anvar-e Soheil

Rafi‘ Tabrizi, Aqa Mirza 1295/1878

Kiba va Ra‘na |

Reza Tabrizi, Aqa 1267/1850

Farhad va Shirin

Rostam-‘Ah, Khan 1269/1852

Hamle-ye Heidariye

Zein al-‘Abedin, Kerbela’i

1277/1860

Asrar al-shahada

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DER ORIENTALISTIK

Abt. I: DER NAHE UND MITTLERE

OSTEN

ISSN 0169-9423 Band 1. Agyptologie 1. Agyptische Schrift und Sprache. Mit Beitragen von H. Brunner, H. Kees, $8. Morenz, E. Otto, S. Schott. Mit Zusatzen von H. Brunner. Nachdruck der Erstausgabe (1959). 1973. ISBN 90 04 03777 2 2. Literatur. Mit Beitragen von H. Altenmiiller, H. Brunner, G. Fecht, H. Grapow, H. Kees, S. Morenz, E. Otto, S. Schott,J.Spiegel, W. Westendorf. 2. verbesserte und erweiterte

Auflage. 1970. ISBN 90 04 00849 7 3. Helck, W. Geschichte des alten Agypten. Nachdruck mit Berichtigungen und Erganzungen. 1981. ISBN 90 04 06497 4 Band 2. Keilschriftforschung und alte Geschichte Vorderasiens 1-2/2. Altkleinasiatische Sprachen [und Elamitisch]. Mit Beitragen von J. Friedrich, E. Reiner, A. Kammenhuber, G. Neumann, A. Heubeck. 1969. ISBN 90 04 00852 7 3. Schmokel, H. Geschichte des alten Vorderasien. Reprint. 1979. ISBN 90 04 00853 5 4/2. Onentahsche Geschichte von Kyros bis Mohammed. Mit Beitragen von A. Dietrich, G. Widengren, F. M. Heichelheim. 1966. ISBN 90 04 00854 3 Band 3. Semitistik Semitistuk. Mit Beitragen von A. Baumstark, C. Brockelmann, E. L. Dietrich, J. Fiick, M. Hofner, E. Littmann, A. Riicker, B. Spuler. Nachdruck der Erstausgabe (1953-1954). 1964. ISBN 90 04 00855 1 Band 4. Iranistik 1. Lingustik. Mit Beitragen von K. Hoffmann, W. B. Henning, H. W. Bailey, G. Morgenstierne, W. Lentz. Nachdruck der Erstausgabe (1958). 1967. ISBN 90 04 03017 4 2/1. Literatur. Mit Beitragen von I. Gershevitch, M. Boyce, O. Hansen, B. Spuler, M. J. Dresden. 1968. ISBN 90 04 00857 8 2/2. story of Persian Literature from the Beginning of the Islamic Period to the Present Day. With Contributions by G. Morrison, J. Baldick and Sh. Kadkani. 1981. ISBN 90 04 06481 8 3. Krause, W. Tocharisch. Nachdruck der Erstausgabe (1955) mit Zusatzen und Berichtigungen. 1971. ISBN 90 04 03194 4 Band 5. Altaistik

1. Turkologe. Mit Beitragen von A. von Gabain, O. Pritsak,J.Benzing, K. H. Menges, A. Temir, Z. V. Togan, F. Taeschner, O. Spies, A. Caferoglu, A. Battal-Tamays. Reprint with additions of the Ist (1963) ed. 1982. ISBN 90 04 06555 5 2. Mongolistik. Mit Beitragen von N. Poppe, U. Posch, G. Doerfer, P. Aalto, D. Schroder, O. Pritsak, W. Heissig. 1964. ISBN 90 04 00859 4 3. Tungusologie. Mit Beitragen von W. Fuchs, I. A. Lopatin, K. H. Menges, D. Sinor. 1968.

ISBN 90 04 00860 8 Band 6. Geschichte der islamischen Lander 5/1. Regierung und Verwaltung des Vorderen Orients in islamischer Zeit. Mit Beitragen von H. R. Idris und K. Rohrborn. 1979. ISBN 90 04 05915 6 5/2. Regierung und Verwaltung des Vorderen Orients in islamischer Zeit. 2. Mit Beitragen von D. Sourdel und J. Bosch Vila. 1988. ISBN 90 04 08550 5 6/1. Wirtschaftsgeschichte des Vorderen Orients in islamischer Zev. Mit Beitragen von B. Lewis, M. Rodinson, G. Baer, H. Miiller, A. S. Ehrenkreutz, E. Ashtor, B. Spuler, A. K. S. Lambton, R. C. Cooper, B. Rosenberger, R. Anié, L. Bolens, T. Fahd. 1977.

ISBN 90 04 04802 2 Band 7 Armenisch und Kaukasische Sprachen. Mit Beitragen von G. Deeters, G. R. Solta, V. Inglisian. 1963. ISBN 90 04 00862 4 Band 8. Religion 1/1. Religionsgeschichte des alten Onents. Mit Beitragen von E. Otto, O. Eissfeldt, H. Otten,J.

Hempel. 1964. ISBN 90 04 00863 2 1/2/2/1. Boyce, M. A History of Zoroastrianism. The Early Period. Rev. ed. 1989. ISBN 90 04 08847 4

1/2/2/2. Boyce, M. A History of Zoroastrianism. Under the Achaememans. 1982. ISBN 90 04 06506 7 ae 1/2/2/3. Boyce, M. and Grenet, F. A History of Zoroastrianism. Zoroastrianism under Macedonian and Roman Rule. With a Contribution by R. Beck. 1991. ISBN 90 04 09271 4 2. Religionsgeschichte des Orients in der Zeit der Weltreligionen. Mit Beitragen von A. Adam, LN

Arberry, E. L. Dietrich, J. W. Fiick, A. von Gabain, J. Leipoldt, B. Spuler, R. Strothman, G. Widengren. 1961. ISBN 90 04 00864 0

Erganzungsband 1 1. Hinz, W. Islamische Mae und Gewichte umgerechnet ins metrische System. Nachdruck der Erstausgabe (1955) mit Zusatzen und Berichtigungen. 1970. ISBN 90 04 00865 9 Erganzungsband 2 1. Grohmann, A. Arabische Chronologie und Arabische Papyruskunde. Mit Beitragen von J. Mayr und W. C. Till. 1966. ISBN 90 04 00866 7 2. Khoury, R. G. Chrestomathie de papyrologie arabe. Documents relatifs a la vie privée, sociale et administrative dans les premiers siécles islamiques. 1992. ISBN 90 04 09551 9 Erganzungsband 3 Onentalisches Recht. Mit Beitragen von E. Seidl, V. Koroic, E. Pritsch, O. Spies, E. Tyan, J.

Baz, Ch. Chehata, Ch. Samaran, J. Roussier, J. Lapanne-Joinville, S. $. Ansay. 1964. ISBN 90 04 00867 5 Erganzungsband 5 1/1. Borger, R. Einleitung in die assyrischen Kongsinschriften. 1. Das zweite Jahrtausend vor Chr. Mit Verbesserungen und Zusatzen. Nachdruck der Erstausgabe (1961). 1964. ISBN 90 04 00869 1 1/2. Schramm, W. Einleitung in die assyrischen Konigsinschriften. 2. 934-722 v. Chr. 1973. ISBN 90 04 03783 7 Erganzungsband 6 1. Ullmann, M. Die Medizin im Islam. 1970. ISBN 90 04 00870 5

2. Ullmann, M. Dire Natur- und Geheimwissenschaften 1m Islam. 1972. ISBN 90 04 03423 4 Erganzungsband 7 Gomaa, I. A Historical Chart of theMushm World. 1972. ISBN 90 04 03333 5 Erganzungsband 8 Kornrumpf, H.-J. Osmanische Bibliographie mit besonderer Berticksichtigung der Tiirke: in Europa. Unter Mitarbeit von J. Kornrumpf. 1973. ISBN 90 04 03549 4 Erganzungsband 9 Firro, K. M. A History of the Druzes. 1992. ISBN 90 04 09437 7 Band 10 Strip, R. Cultural Anthropology of the Middle East. A Bibhography. Vol. 1: 1965-1987. 1992. ISBN 90 04 09604 3 Band 11 Endress, G. & Gutas, D. (eds.). A Greek and Arabic Lexicon. (GALex). Materials for a Dictionary of the Medieval Translations from Greek into Arabic. Fascicle 1. Introduction—Sources—’ — ?-kh-r. Compiled by G. Endress & D. Gutas, with the assistance of K. Alshut, R. Arnzen, Chr. Hein, St. Pohl, M. Schmeink. 1992. ISBN 90 04 09494 6 Fascicle 2. >-kh-r — >-s-]. Compiled by G. Endress & D. Gutas, with the assistance of K. Alshut, R. Arnzen, Chr. Hein, St. Pohl, M. Schmeink. 1993. ISBN 90 04 09893 3 Fascicle 3. ’-s-] — ?-l-y. Compiled by G. Endress, D. Gutas & R. Arnzen, with the assistance of Chr. Hein, St. Pohl. 1995. ISBN 90 04 10216 7 Fascicle 4. [l4 — inna. Compiled by R. Arnzen, G. Endress & D. Gutas, with the assistance of Chr. Hein & J. Thielmann. 1997. ISBN 90 04 10489 5. Band 12 Jayyusi, S. K. (ed.). The Legacy of Muslim Spain. Chief consultant to the editor, M. Marin. 2nd ed. 1994. ISBN 90 04 09599 3 Band 13 Hunwick, J. O. and O’Fahey, R. S. (eds.). Arabic Literature ofAfrica. Editorial Consultant: Albrecht Hofheinz. Volume I. The Writings of Eastern Sudanic Africa to c. 1900. Compiled by R. S. O’Fahey, with the assistance of M. I. Abu Salim, A. Hofheinz, Y. M. Ibrahim, B. Radtke and K. S. Vikor. 1994. ISBN 90 04 09450 4 Volume II. The Writings of Central Sudanic Africa. Compiled by John O. Hunwick, with the assistance of Razaq Abubakre, Hamidu Bobboyi, Roman Loimeier, Stefan Reichmuth and Muhammad Sani Umar. 1995. ISBN 90 04 10494 1

Band

14

Decker, W. und Herb, M. Bildatlas zum Sport im alten Agypten. Corpus der bildlichen Quellen zu Letbestibungen, Sprel, Jagd, Tanz und verwandten Themen. Bd.1: Text. Bd. 2: Ab-bildungen. 1994. ISBN 90 04 09974 3 (Set) Band 15 Haas, V. Geschichte der hethitischen Religion. 1994. ISBN 90 04 09799 6

Band 16 Neusner,J. (ed.). Judaism in Late Antiquity. Part One: The Literary and Archaeological Sources. 1994. ISBN 90 04 10129 2 Band 17 Neusner, J. (ed.). Judaism in Late Antiquity. Part Two: Historical Syntheses. 1994. ISBN 90 04 09799 6 Band 18 Orel, V. E. and Stolbova, O. V. (eds.). Hamito-Semitic Etymological Dictionary. Materials for a Reconstruction. 1994. ISBN 90 04 10051 2 Band 19 al-Zwaini, L. and Peters, R. A Bibliography of Islamic Law, 1980-1993. 1994. ISBN 90 04 10009’1 Band 20 Krings, V. (éd.). La cwilisation phénicienne et punique. Manuel de recherche. 1995. ISBN 90 04 10068 7 Band 21 Hoftijzer, J. and Jongeling, K. Dictionary of the North-West Semitic Inscriptions. With appendices by R.C. Steiner, A. Mosak Moshavi and B. Porten. 1995. 2 Parts. ISBN Set (2 Parts) 90 04 098216 Part One: ’ - L. ISBN 90 04 09817 8 Part Two: M - T. ISBN 90 04 9820 8. ’ Band 22 Lagarde, M.

Index du Grand Commentaire de Fahr al-Din al-Razi. 1996.

ISBN 90 04 10362 7 Band 23 Kinberg, N. A Lexicon of al-Farra’’s Terminology in his Qur'an Commentary. With Full Definitions, English Summaries and Extensive Citations. 1996. ISBN 90 04 10421 6 Band 24 Fahnrich, H. und Sardshweladse, S. Etymologisches Worterbuch der Kartwel-Sprachen. 1995.

ISBN 90 04 10444 5 Band 25 Rainey, A.F. Canaanite in the Amarna Tablets. A Linguistic Analysis of the Mixed Dialect used by Scribes from Canaan. 1996. ISBN Set (4 Volumes) 90 04 10503 4 Volume I. Orthography, Phonology. Morphosyntactic Analysis of the Pronouns, Nouns, Numerals. ISBN 90 04 10521 2. Volume II. Morphosyntactic Analysis of the Verbal System. ISBN 90 04 10522 0 Volume II. Morphosyntactic Analysis of the Particles and Adverbs. ISBN 90 04 10523 9 Volume IV. References and Index of Texts Cited. ISBN 90 04 10524 7 Band 26 Halm, H. The Empire of the Mahdi. The Rise of the Fatimids. Translated from the German by M. Bonner. 1996. ISBN 90 04 10056 3 Band 27 Strijp, R. Cultural Anthropology of theMiddle East. A Bibliography. Vol. 2: 1988-1992. 1997. ISBN 90 04 010745 2 Band 28 Sivan, D. A Grammar of the Ugaritic Language. 1997. ISBN 90 04 10614 6 Band 29 Corriente, F. A Dictionary of Andalus Arabic. 1997. ISBN 90 04 09846 1 Band 30 Sharon, M. Corpus Inscriptionum Arabicarum Palaestinae (CIAP). Vol. 1: A. 1997. ISBN 90 04 010745 2. -Vol.1: B. 1999. ISBN 90 04 110836 Band 31 Torék, L. The Kingdom of Kush. Handbook of the Napatan-Meroitic Civilization. 1997. ISBN 90 04 010448 8 Band 32 Muraoka, T. and Porten, B. A Grammar of Egyptian Aramaic. 1998. ISBN 90 04 10499 2

Band 33 Gessel, B.H.L. van. Onomasticon of the Hittite Pantheon. 1998. ISBN Set (2 parts) 90 04 10809 2 Band 34 Klengel, H. Geschichte des hethitischen Reiches 1998. ISBN 90 04 10201 g Band 35 Hachlili, R. Ancient Jewish Art and Archaeology in the Diaspora 1998. ISBN 90 04 10878 5 Band 36 Westendorf, W. Handbuch der altégyptischen Medizin. 1999. ISBN Set (2 Bande) 90 04 10319 8 Band 37 Civil, M. Mesopotamian Lexicography. 1999. ISBN 90 04 11007 0 Band 38 Siegelova, J. and Souéek, V. Systematische Bibhographte der Hethitologie. 1999. ISBN Set (3 Bande) 90 04 11205 7 Band 39 Watson, W.G.E. and Wyatt, N. Handbook of Ugaritic Studies. 1999. ISBN 90 04 10988 9 Band 40 Neusner,J.Judaism in Late Antiquity, II[,1. 1999. ISBN 90 04 11186 7 Band 41 Neusner,J.Judaism in Late Antiquity, I[,2. 1999. ISBN 90 04 11282 0

Band 42 Drijvers, H,J.W. and Healey, J.F. The Old Syriac Inscriptions of Edessa and Osrhoene. 1999. ISBN 90 04 11284 7 Band 43 Daiber, H. Bibliography of Philosophical Thought in Islam. 2 Volumes. ISBN Set (2 Volumes) 90 04 11347 9 Volume I. Alphabetical List of Publications 1999. ISBN 90 04 09648 5 Volume II. Index of Names, Terms and Topics. 1999. ISBN 90 04 11348 7 Band 44 Hunger, H. and Pingree, D. Astral Sctences in Mesopotamia. 1999. ISBN 90 04 10127 6 Band 45 Neusner, J. The Mishnah. Religious Perspectives 1999. ISBN 90 04 11492 0 Band 46 Neusner,J. The Mishnah. Social Perspectives 1999. ISBN 90 04 11491 2 Band 47 Khan, G. A Grammar of Neo-Aramaic. 1999. ISBN 90 04 11510 2 Band 48 Takacs, G. Etymological Dictionary ofEgyptian. Vol. 1. 1999. ISBN 90 04 11538 2 Band 49 Avery-Peck, A.J. and Neusner,J.Judaism in Late Antiquity IV. 2000. ISBN 90 04 11262 6 Band 50 Tal, A. A Dictionary ofSamaritan Aramaic. (2 Volumes) 2000. ISBN 90 04 11858 6 (dl. 1) ISBN 90 04 11859 4 (dl. 2) ISBN 90 04 11645 1 (set) Band 51 Holes, C. Dialect, Culture, and Society in Eastern Arabia. Vol. 1 : Glossary 2001.

ISBN 90 04 10763 0 Band 52 Jong, R.E. de. A Grammar of the Bedouin Dialects of the Northern Sinai Littoral. Bridging the Linbeae Gap between the Eastern and Western Arab World. 2000. ISBN 90 04 11868 3 and 53 Avery-Peck, AJ. and Neusner,J.Judaism in Late Antiquity III,3. Where we stand: Issues and Debates in Ancient Judaism. 2000. ISBN 90 04 11892 6 Band 54 Krahmalkov, Ch. R. A Phoenician-Punic Grammar. 2001. ISBN 90 04 11771 7 Band 55 Avery-Peck, A.J. and Neusner, J. Judaism in Late Antiquity IIT,4. Where we stand: Issues and Debates in Ancient Judaism.. The Special Problem of the Synagogue. 2001. ISBN 90 04 12000 9.

Band

56

Avery-Peck, A,J., Neusner,J., and Chilton, B. Judaism in Late Antiquity V,1. The Judaism of

Qumran: A Systemic Reading of the Dead Sea Scrolls. Theory of Israel. 2001. ISBN 90 04 12001 7 Band 57

Avery-Peck, A,J., Neusner,J.,and Chilton, B. Judaism in Late Antiquity V,2. The Judaism of Qumran: A Systemic Reading of the Dead Sea Scrolls. World View, Comparing Judaisms.

2001. ISBN 90 04 12003 3 Band 58 Gacek, A. The Arabic manuscript tradition.

A Glossary of Technical Terms and Bibliography.

2001. ISBN 90 04 12061 0 Band 60 Marzolph, U. Narrative illustration in Persian lithographed books. 2001. ISBN 90 04 12100 5

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the genre of illustrated ficosphel books odes in nineteenth-and early twentieth-century Iran. bay “Inaddition to introducing the history of printing in Iran -and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated

HOONGAGN YOOPA 1O

booksina total of 351 particular editions and 150 plates with several

. hundred single illustrations. Lithographic illustration in Iran constitutes the feo amnaie successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in ~ large numbers and served as a powerful medium ofpopular iconography.

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Ulrich Marzolph, Dr. Phil. (1981) in Oriental Studies, University of Cologne, is Professor of Islamic Studies at _ the Georg-August-University in G6ttingen and a senior member of the editorial staff of the Enzyklopddie des Marchens. He has published extensively on the narrative culture of ‘the Islamic Near East, including Arabia ridens (1992)

- and Nasreddin Hodscha (1996).

‘This isan ee and challenging book,cramminga wealth of ideas and insights into its short text. Clearly written and structured, it opens a multitude of new perspectives into the history of printing _ in Iran and of how theprocess of lithography revitalised the millennial tradition of the illustrated book.’ — Robert Hillenbrand;

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The University of Edinburgh ‘This isa lavishly illustrated, far-ranging and vital contribution tothe history of the book and of popular visual culture in Iran in the 19th and 2oth centuries. Tt offers abundant data for further

research, to which the authoriinvites us, as well as rich theoretical and methodological implications for the _ Middle East and beyond.’ —Margaret A. Mills, sil Oo 0 a

University, Columbus

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ISBN

9004 [2100§

9189004

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