The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
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Illuminations (2)
This album (muraqqaʿ), in an accordion format, was presented as a gift in 1886 to its former owner. It contains twenty-five leaves of Persian and Indian paintings and calligraphies, photographs, and European prints. The pages range in date from the eleventh century AH / seventeenth CE to the thirteenth century AH / nineteenth CE. The calligraphies, in nastaʿlīq and shikastah scripts, are signed by Bunyād al-Tabrīzī (dated 1045 AH / 1635-6 CE), Ibn Muḥammad Riz̤ā Muḥammad ʿAlī (dated 1151 AH / 1738-9 CE), and ʿAbd Allāh and Ḥakīm, who are possibly ʿAbd Allāh al-Ḥusaynī and Ḥakīm Rukna. The Persian paintings include Safavid, Zand, and Qajar examples. The Reception at the court of Shah 'Abbas I (fol. 50a) dates to the early eleventh century AH / seventeenth CE. There are standing portrait paintings and images of female sitters that belong to the late Zand and early Qajar periods. The Indian examples are Mughal, with one erotic scene that is attributable to the Deccan. The European prints include English portraiture and French religious prints based on Evangelicae historiae imagines (Antwerp, 1593) and Adnotationes et meditationes in Evangelia (Antwerp, 1594) by the Jesuit priest Jerome Nadal. In certain examples, scenes are labeled with the Armenian alphabet. The red leather leather binding with central lobed oval with floral motifs dates to the late thirteenth century AH / nineteenth CE.
Written in nastaʿlīq and shikastah scripts
Principal cataloger: Gacek, Adam
Cataloger: Landau, Amy
Cataloger: Smith, Sita
Editor: Bockrath, Diane
Contributor: Barrera, Christina
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Noel, William
Contributor: Simpson, Shreve
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Valle, Chiara
Conservator: Jewell, Stephanie
Conservator: Quandt, Abigail
Sims, Eleanor. "The European Print Sources of Paintings by the Seventeenth Century Persian Painter Muhammad Zaman ibn Haji Yusuf of Qum.” In Le Stampe e la Diffusione delle Immagini e Degli Stili, H. Zerner, ed. (Bologna: CLUEB, 1983), 73-83.
Diba, Laya. "Persian Painting in the Eighteenth Century. Tradition and Transmission." Muqarnas 6 (1989), 147-160.
Simpson, Marianna Shreve. "Shah 'Abbas and his Picture Bible." In The Book of Kings: Art, War, and the Morgan Library's Medieval Picture Bible. (Baltimore: Walters Art Museum, 2002), 200, cat. 41.
Landau, Amy. "Farangi-sazi at Isfahan: The Court Painter Muhammad Zaman, the Armenians of New Julfa and Shah Sulayman (1666-1694)." PhD diss., University of Oxford, 2009.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
Iran, India, and Europe
11th century AH / 17th CE -- 13th century AH / 19th CE
album
Non-original Binding
Late thirteenth century AH / nineteenth CE; red leather (no flap); central lobed oval with floral motifs
The primary language in this manuscript is Persian.
Museum purchase with funds provided by the S. and A. P. Fund, 1960
Iran, India, and Europe
11th century AH / 17th CE -- 13th century AH / 19th CE
album
The primary language in this manuscript is Persian.
Museum purchase with funds provided by the S. and A. P. Fund, 1960
This album (muraqqaʿ), in an accordion format, was presented as a gift in 1886 to its former owner. It contains twenty-five leaves of Persian and Indian paintings and calligraphies, photographs, and European prints. The pages range in date from the eleventh century AH / seventeenth CE to the thirteenth century AH / nineteenth CE. The calligraphies, in nastaʿlīq and shikastah scripts, are signed by Bunyād al-Tabrīzī (dated 1045 AH / 1635-6 CE), Ibn Muḥammad Riz̤ā Muḥammad ʿAlī (dated 1151 AH / 1738-9 CE), and ʿAbd Allāh and Ḥakīm, who are possibly ʿAbd Allāh al-Ḥusaynī and Ḥakīm Rukna. The Persian paintings include Safavid, Zand, and Qajar examples. The Reception at the court of Shah 'Abbas I (fol. 50a) dates to the early eleventh century AH / seventeenth CE. There are standing portrait paintings and images of female sitters that belong to the late Zand and early Qajar periods. The Indian examples are Mughal, with one erotic scene that is attributable to the Deccan. The European prints include English portraiture and French religious prints based on Evangelicae historiae imagines (Antwerp, 1593) and Adnotationes et meditationes in Evangelia (Antwerp, 1594) by the Jesuit priest Jerome Nadal. In certain examples, scenes are labeled with the Armenian alphabet. The red leather leather binding with central lobed oval with floral motifs dates to the late thirteenth century AH / nineteenth CE.
Written in nastaʿlīq and shikastah scripts
Principal cataloger: Gacek, Adam
Cataloger: Landau, Amy
Cataloger: Smith, Sita
Editor: Bockrath, Diane
Contributor: Barrera, Christina
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Noel, William
Contributor: Simpson, Shreve
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Valle, Chiara
Conservator: Jewell, Stephanie
Conservator: Quandt, Abigail
Sims, Eleanor. "The European Print Sources of Paintings by the Seventeenth Century Persian Painter Muhammad Zaman ibn Haji Yusuf of Qum.” In Le Stampe e la Diffusione delle Immagini e Degli Stili, H. Zerner, ed. (Bologna: CLUEB, 1983), 73-83.
Diba, Laya. "Persian Painting in the Eighteenth Century. Tradition and Transmission." Muqarnas 6 (1989), 147-160.
Simpson, Marianna Shreve. "Shah 'Abbas and his Picture Bible." In The Book of Kings: Art, War, and the Morgan Library's Medieval Picture Bible. (Baltimore: Walters Art Museum, 2002), 200, cat. 41.
Landau, Amy. "Farangi-sazi at Isfahan: The Court Painter Muhammad Zaman, the Armenians of New Julfa and Shah Sulayman (1666-1694)." PhD diss., University of Oxford, 2009.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
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