Kitoblar

Nomi:

Muallifi:

Mir 'Ali,

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714681

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

1500-1550, Quatrain by Rumi written in black Nasta'liq script by the calligrapher Mir 'Ali Heravi (d. 951/1544-5) during the Shaybanid period. - (Oh) wine-bringer, because of (my) grief for you, (my) mind and spirit left / Give (me) wine so that (my) pride may disappear. / My patience and ability are spent in this way, / I too would vanish, if only I could. - Dimensions of Written Surface: 8.3 (w) x 4.7 (h) cm - Other calligraphic fragments written by, or attributed to, Mir 'Ali are held in the collections of the Library of Congress. See, for example, 1-04-713.19.38, 1-87-154.158, 1-87-154.159, and 1-90-154.180. - Saqi bi-ghamm-i tu 'aql u jan raft / May dah ka takalluf az mayan raft / Shud tab u tavanam andarin rah / Man ham baravam agar tavan raft - The poet describes the wine-bringer (saqi) as the object of his "intoxicated" love. His abilities disappear "in this way" (i.e., in loving him/her), and he wishes that he -- much like his abilities conquered by the effects of inebriation -- also would fade away. - The text is signed by the "poor" (faqir) Mir 'Ali, much as it is in a similar fragment in the Sackler Gallery of Art in Washington, D. C. (Lowry and Beach 1988, 355, no. 437). Mir 'Ali Heravi (d. 951/1544-5) was a calligrapher in nasta'liq script active in the city of Herat (modern-day Afghanistan) during the 16th century until he was taken to Bukhara (modern-day Uzbekistan) in 935/1528-9 by the Shaybanid ruler 'Ubaydallah Khan Uzbek (Qadi Ahmad 1959: 126-131). - This calligraphic piece includes an iambic pentameter quatrain, or ruba'i, composed by the Persian poet Rumi (d. 672/1273). Written diagonally in black nasta'liq script on a white-and-blue marbled paper, the text is also decorated by four illuminated triangles (or thumb pieces) in the spaces left empty by the intersection of the diagonal lines and the rectangular frame. The text panel is framed by two borders in pink and beige painted with interlacing gold vines, and is pasted onto a larger piece of paper decorated with blue flower motifs. The verses read: - Script: nasta'liq

Nomi:

Muallifi:

Hilālī, Badr al-Dīn, -1528 or 1529, author

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2016404677

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

The poems of Badr al-Dīn al-Hilālī with an introduction. 1230 [1814 or 1815], Manuscript. - Persian. - Title from colophon. - Name of scribe not indicated. - Possibly written in Horasan or Afghanistan. - Paper; coarse cream-color laid paper with no visible chain lines or watermarks; text in two columns; black ink; worm damage throughout; catchwords on rectos. - Nastaʻliq; 11 lines in written area 18 x 9 cm. - Fol. 1a-153b. - Library of Congress. Persian manuscript, M28. - Disbound; lacks spine; cardboard boards with original dark brown leather almost completely worn off; worm damage to cardboard. - Also available in digital form on the Library of Congress website.

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714658

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

16th-17th centuries, A page from Nizami's "Iskandarnamah" (Book of Alexander), the fifth book of his "Khamsah" (Quintet), written in Nasta'liq script in the 16th-17 cent. - Another textual fragment of Nizami's "Iskandarnamah" is also held in the collections of the Library of Congress (see 1-84-154.1b R & V). - Dimensions of Written Surface: 10.5 (w) x 22.2 (h) cm - Nizami's "Iskandarnamah" recounts Alexander the Great's (d. 323 B.C.) heroic exploits, battles, and journey to China, Gog and Magog, and the end of the world. It is loosely based on the epic narrative of Alexander's deeds as recounted by Firdawsi in his "Shahnamah" (Book of Kings), which may have drawn from the history of Alexander as penned down by his official biographer Callisthenes of Olynthus (ca. 370-327 B.C.). Nizami's "Iskandarnamah" has been translated into English by M. S. Southgate, "Iskandarnamah: A Persian Medieval Alexander-Romance" (New York, 1978). - This folio includes a fragmentary text from Nizami's "Iskandarnamah" (Book of Alexander), the fifth book of his "Khamsah" (Quintet). Written during the last few decades of the 12th century A.D., the "Khamsah" consists of five books (kitab) written in rhyming distichs (mathnavi). - This particular text is executed in black nasta'liq script in four columns separated by plain gutters. The text panel is framed by lines of various colors and pasted to a larger sheet bearing a number of a posteriori notes at the top. It appears to date from the 16th or 17th century. - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714607

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th century, Illuminated Sarloh (frontispiece) intended for a Persian epic work like Nizami's "Khamsah" (Quintet) or Firdawsi's "Shahnamah" (Book of Kings), 18th century. - The illumination -- with its combination of reds and blues, as well as the lighter blue and pink tones -- appears in Persian manuscripts of the 18th century. Unlike earlier illuminated patterns, which are dominated by dark blues and blacks (see 1-85-154.87), the palette of this piece is lighter and reveals some of the color innovations in illuminated frontispieces after the waning of the Timurid mode. - The illumination found here is called a sarlawh or sarloh, which literally signifies a tablet or panel at the top of a page. In fact, the decorative panel at the upper part of the right side of the folio is heavily ornamented with interlacing finials and geometric scrollwork, whose base hues alternate between blue, gold, and red. Immediately below the sarloh appears a gold rectangular cartouche left blank but originally included to contain the work's title. All around the margins of the folios appear vines of leaves and flowers, whose light pink and blue tones give the composition a shimmering quality. - This illuminated double-page frontispiece formed the opening to a text that was never transcribed. It probably was intended to accompany a Persian poetical epic such as Nizami's "Khamsah" (Quintet) or Firdawsi's "Shahnamah" (Book of Kings). It is also possible that it could have framed the introductory pages of a historical text or exegetical treatise. The layout does not suit the composition of the beginning of a Qur'an, which typically includes a central medallion used for the first chapter entitled al-Fatihah (The Opening), as seen in another fragment of an illuminated frontispiece in the Library of Congress (see 1-85-154.87).

Nomi:

Muallifi:

Munshi Ram

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714560

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th century, Verses on the beloved, Persian poem describing the heavenly scent and life-endowing capabilities of the beloved, written by calligrapher Munshi Ram, from West Bengal India in the Nasta'liq script. - Agar cha mushk-i az far khush nasim ast / Dam-i jan bakhsh chun buyat nadarad / Maqam-i khub u dilkhwah-st firdaws / Valikin runaq-i kuyat nadarad - Although musk smells fragrant / It does not breathe life like your scent / Paradise is a good and beloved place / But it is not as splendid as your abode - Although the calligraphic specimen is neither signed nor dated, a later note on the fragment's verso attributes the piece to a certain "Munshi Ram." This calligrapher may be identified with Munshi Ram (1737-90), a writer specializing in Arabic and Persian who was active in Radhanagar, West Bengal (India). - Another specimen signed by Munshi Ram is held in the collections of the Library of Congress (1-04-713.19.54). Judging from both specimens, he seems to have been an 18th-century Indian calligrapher who prefered writing verses in nasta'liq script using white ink on red backgrounds. - Dimensions of Written Surface: 8 (w) x 14 (h) cm - The text is executed in nasta'liq script in white ink on a red background. Blue panels decorated with gold flower and leaf motifs separate and frame the lines of text . Other monochromatic frames also appear on the larger sheet of beige paper backed by cardboard onto which the text panel has been pasted. - This calligraphic fragment includes four lines of Persian poetry describing the heavenly scent and life-endowing capabilities of the beloved: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714615

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

16th century, Verses by Shaykh Baha'i, a mystical Persian poet, 11th century copied in black nasta'liq script during the Safavid period (16th century) Persia. - Ay tir-i ghammat-ra dil-i 'ushshaq-i nishana / Khalqi bi-tu mashghul u tu ghayab za zamana (za) miyana / Gah mu'takif-i dayram u gah sakin-i masjid / Ya'ni ka tura mitalabam khana bi-khana / Harkas bi-zabani sukhan-i 'ishq-i tu guyad / 'ashiq bi-surud-i ghamm u mutrib-i tarana - Dimensions of Written Surface: 13.2 (w) x 21.5 (h) cm - Oh, the arrow of Your grief (is) the target of Your lovers' heart(s) / People are mesmerized by You, but You are absent from both time and place / Sometimes I retire to my monastery, others I inhabit a mosque / That means that I search for You from house to house / Everyone speaks about his love for You in (his own) language / The lover by the song of sorrow and the minstrel by (his) melody - The composition is neither signed nor dated; however, the script and decorative style are typical of calligraphies made during the Safavid period (16th century) in Persia. - The verses are executed in black nasta'liq script in diagonal on a cream-colored paper decorated with delicate flower and leaf motifs painted in gold. The spaces created by the intersection of the diagonal lines of text and the rectangular frame are filled by illuminated triangles (or thumb pieces). The central text panel is framed by several borders, including an outermost border which contains further verses in Persian individually cut out and pasted into the rectangular panels. The entirety of the composition is contained on a beige sheet of paper painted with gold flowers and backed by cardboard. - This calligraphic fragment includes verses composed by Shaykh Baha'i, a Persian mystical poet of the 11th century. The poem describes the many ways in which to express one's love of God: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714481

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

1500-50, A typical 16th century Persianate frontispieces made for a Qur'an, from Herat, present day Afghanistan. - Illuminators during the first half of the 16th century experimented with the double-page illuminated frontispiece. For example, the artist Shaykhzadah began using black backgrounds and invented new arabesque or scrollwork motifs. These motifs not only appeared in frontispieces, but were used as architectural ornamentation in manuscript paintings (Soudavar 1992: 193, 73c). Such decorative connections highlight the close relationship between illuminators and painters, who collaborated in the production of illuminated and illustrated manuscripts. - This illuminated frontispiece is one of two pages that would have formed the opening double-page composition of a manuscript. It is possible that it belonged to a Qur'an. The title would have appeared in the top and bottom rectangular panels. The central medallion may have contained the beginning of the first chapter of the Qur'an entitled al-Fatihah (The Opening). It also may have served as a space for the work's dedication to a patron or blessings upon its owner.

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714552

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th-19th centuries, Persian poem with verses seeking the mercy and assistance of God, written black nasta'liq script from Iran or India during the 18th or 19th century. - Ay mihr-i sipihr-i sar farazi / Vay gawhar-i bahr-i bi-niyazi / Daram za 'anayat-i tu umid / Kaz lutf u karam mara navazi - Dimensions of Written Surface: 12.1 (w) x 22.5 (h) cm - Oh Sun of the proud skies, / Oh Gem of the sea freed from need, / I have hope (to receive) your favor, / Kindness, generosity, and support of me - The fragment is neither dated nor signed, but may have been executed in Iran or India sometime during the 18th or 19th century. - The verses are executed in black nasta'liq script on a beige paper. A small and rather sloppy frame has been pasted to the text panel and onto a larger sheet of paper backed by cardboard. - This calligraphic fragment includes a Persian poem seeking the mercy and assistance of God. The verses read: - Script: nasta'liq

Nomi:

Muallifi:

Son of Mir Afkan Khan

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714654

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th century, Insha' literary compositions or letters (insha') written by the calligrapher, son of Mir Afkan Khan, in the Indian Nasta'liq script, from Janpur in India in the 18th Cent. - Dimensions of Written Surface: Recto: 12.2 (w) x 22 (h) cm. Dimensions of Written Surface: Verso: 10.5 (w) x 14 (h) cm - The calligraphies are typically written in a hasty nasta'liq on white paper, framed in blue, and pasted to a pink or salmon cardboard. They stand out for being in rather poor condition, in many cases badly damaged by worm holes and/or water stains. Some bear squiggle-like marks in the margins, while others include seal impressions that were cut out and pasted onto the cardboards. In most cases, an attribution to a calligrapher is written at the top, preceded by the expression "written by" (raqamahu) or "the handwriting of" (khatt-i...). - The verso of this particular fragment includes a now damaged attribution note at the top, stating that the calligraphy was executed by [...] son of Mir Afkan Khan. Immediately below the attribution note appears a cut out seal impression with the names "[...] al-Dawlah Bahadur" still legible. In the lower left corner appears a squiggle design. The main text executed on the white paper is addressed to the writer's dear friend or brother, in which he states that he received the latter's letter. He hopes to see him and his friends on Sunday (yakshambah). - This calligraphic fragment belongs to a series of twenty-two literary compositions or letters (insha') written by the calligraphers named Mir Kalan, Khan Zaman (son of Khan Khanan), Qa'im Khan, Lutfallah Khan, and Mahabat Khan (1-84-154.49, 1-84-154.53-54, 1-87-154.146a-f, and 1-88-154.30). Judging from the script (Indian nasta'liq), a seal impression bearing the date 1113/1701-2 (1-87-154.146a R), and a letter mentioning the city of Janpur in India, it appears that these writings were executed in India during the 18th-century. Furthermore, if one were to identify the calligrapher Mir Kalan as the renowned painter active during the mid-18th century in Lucknow, then this identification would add further support to identifying this calligraphic series in the Library of Congress' collection as a corpus of materials produced by several writers active in 18th-century India.

Nomi:

Muallifi:

Kamal al-Din (Ikhtiyar al-Munshi)

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714659

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

ca. 1500-1550, A prayer in Arabic for a King (and his many honorific epithets), written in "hanging" Ta'liq script called Tarassul in Safavid Iran by the calligrapher Kamal al-Din Husayn (d. 974/1566-7). - Both panels also are executed in a version of the "hanging" ta'liq script called tarassul, in which letters such as the alif (a) and the lam (l) are connected by large looping ligatures. The letters themselves are not filled in with ink: rather, they are outlined in gold on the beige paper. For this reason, the calligrapher Kamal al-Din has noted in the lower right corner of the upper calligraphic panel that he has outlined (hararahu), rather than written (e.g., katabahu, raqamahu) the composition. Kamal al-Din's nickname (laqab), Ikhtiyar al-Munshi ("the Elderly Secretary"), also appears in gold outlined script in the lower right corners of both calligraphic panels, in which he states that he also wrote (mashaqahu) the composition. Therefore, Kamal al-Din was responsible both for the writing and the outlining of the composition. - Dimensions of Written Surface: 12.5 (w) x 22.1 (h) cm - He was a contemporary of Shah Mahmud al-Nishapuri, one of whose works is held in the collections of the Library of Congresss (1-87-154.155). - Kamal al-Din Husayn (d. 974/1566-7) was a calligrapher during the reign of the Safavid ruler, Shah Tahmasp (r. 1524-76). The monarch supported his work in Tabriz and offered him a number of rewards, which Kamal al-Din refused. He also made him his personal secretary and bestowed upon him the honorific epithet "the Elderly, Royal Secretary" (Ikhtiyar al-Munshi al-Sultani). Even though he was blind in one eye, he was a master of all calligraphic scripts, especially nasta'liq (Huart 1972, 232). Judging from this specimen -- as well as others in the Library of Congress (1-04-713.19.36) and the Sackler Gallery of Art (29.63 and 29.64) -- he also was a master of outlined tarassul. - This calligraphic fragment includes a prayer in Arabic for a King (and his many honorific epithets). The top panel reproduces exactly the lower panel, suggesting that a pounce or stencil was used for these two calligraphic replicas. Both panels are individually cut out, provided with a separating horizontal line and an illuminated border, and are pasted to a green sheet of paper decorated with flecks of gold and backed by cardboard. - Script: tarassul

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714512

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

16th century, The feast of Iskandar and Nushabah, from Nizami's "Iskandarnamah" (The Book of Alexander the Great), part of the "Khamsah" (Quintet) and Shirazi style Safavid Persian illuminated manuscript in Nasta'liq script. - Another painting from Nizami's "Khamsah" is also held in the collections of the Library of Congress (see 1-86-154.123). - Dimensions of Painting: 18.6 (w) x 22.8 (h) cm. Dimensions of Written Surface: 13.7 (w) x 22.3 (h) cm - Nizami's "Iskandarnamah" has been translated into English by Minoo Southgate, "Iskandarnamah: a Persian Medieval Alexander-Romance" (New York: Columbia University Press, 1978). - On his way to the Land of Darkness, he visits the Queen of the Caucasian city of Barda, Nushabah in order to seek her financial and logistical support. Disguised as a messenger, Alexander nonetheless is recognized by Nushabah, who is familiar with his facial traits from a painting located in her treasure house of portraits. Though keeping his identity a secret, she organizes a large feast ('ishrat) for him and invites him to sit next to her on a golden throne. Servants and musicians surround the couple, as described in Nizami's text on the fragment's verso (see 1-86-154.122 V). - The painting on the recto and the text on the verso of this fragment describes an episode in Nizami's "Iskandarnamah" (The Book of Alexander the Great), the last text of the author's "Khamsah" (Quintet). In his work, the great Persian author Nizami (d. 614/1218) describes the adventures and battles of Alexander the Great as he travels to the end of the world. - The text located above and below the painting is executed in fine Persian cursive script known as nasta'liq. Because the verses precede and follow a composition, they are outlined in cloud bands and located on an illuminated gold ground decorated with flower and vine motifs. The painting's composition is typical of illuminated manuscripts made in Shiraz (southwestern Iran) during the second half of the 16th century. These manuscripts were usually produced for the market rather than for a royal patron. This particular painting resembles another composition of the same subject sold at Sotheby's (London) on 10/18/1995 (Lot 17). - Script: nasta'liq

Nomi:

Muallifi:

Ḥusaynī, Ḥasanʻalī, calligrapher

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2016503587

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

Calligrapher's sample book. 1291-1293 [1874-1875], Manuscript. - Persian. - Title supplied by cataloger. - Calligrapher's name at end of each leaf. - Written in Afghanistan. - Paper; thick light blue paper borders; with outer ruled border in gold, red, and gold; each leaf is completely decorated in a floral design in gold; each leaf has three inlaid leaves; on in pink, one in a brownish purple; and the main text on cream color paper; the other two forming borders of pink and purple respectively; text written diagonally in black ink with alternating between lines of large and small letters; text is surrounded by geometric boxes with profuse floral decoration; upper and lower sections have dark blue background with gold vines and, red, and green flowers; side designs have a cold background with light blue and red flowers. - Nastaʻliq; 8 lines in written area 14 x 8.5 cm. - Fol. 1-10. - Library of Congress. Persian manuscript, M162. - Binding is accordion style binding with heavy black leather front and back covers; cover is inlaid with a white leather square filled with floral designs. - Also available in digital form on the Library of Congress website.

Nomi:

Muallifi:

Mir 'Imad (al-Hasani) al-Qazvini

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714634

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

ca. 1550-1600, Calligraphic panel written in black nasta'liq script with a painting depicting foxes and a landscape, created by Mir 'Imad (al-Hasani) al-Qazvini who worked in Iran, Afghanistan and India. - A number of letters and words are repeated in this calligraphic panel, so as to create a playful composition that fills up the entirety of the text panel. This calligraphic game -- itself a device of dissimulation -- echoes the contents of the poem. - Below the text panel and outside the text frames, a minute inscription written in black ink appears written horizontally on the beige paper decorated with gold flecks. The inscription attributes the calligraphy to the "qiblah of the calligraphers" (qiblat al-khattatin), Mir 'Imad Qazvini. The calligrapher can be identified as Mir 'Imad al-Hasani (d. 1615). He was born in 1552, spent time in Herat and Qazvin, and finally settled in Isfahan (then capital of Safavid Persia), where, as a result of his implication in court intrigues, he was murdered in 1615. He was a master of nasta'liq script, whose works were admired and copied by his contemporaries, and later collected by the Mughals (Welch et al 1987: 32-36). It is possible that this particular calligraphy was decorated by the painting of two foxes and pasted to a gold-flecked paper under the Mughals. A square seal impression in the lower right corner bearing the epithet Bahadur and the date 1186/1772-3 supports the hypothesis that this piece belonged to a Mughal patron by the second half of the 18th century at the latest. - Di shana zada an mah kham-i gisura / Bar chahra nahad zulf 'anbar bura / Pushid bi-din hila ruh-i niku-ra / Ta har ka na mahram nishinashad ura - Dimensions of Written Surface: 13.6 (w) x 24.3 (h) cm - Other calligraphies by, or attributed to, Mir 'Imad in the Library of Congress include: 1-84-154.3, 1-84-154.43, 1-85-154.72, 1-85-154.77, 1-87-154.160, 1-90-154.162. - This calligraphic panel executed in black nasta'liq script on a ground decorated with flowers painted in gold and topped by a painting depicting two foxes in a landscape describes the subterfuges of the beloved. Omitting the unrelated verses in the upper right corner, the poem reads: - Yesterday that moon (the beloved) brushed the curls of her hair / Over her face, she placed her amber-smelling hair / By this stratagem, she covered her beautiful visage / So that he who is not allowed cannot see her - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714504

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

19th century, Qajar era Siyah Mashq Calligraphy based on Nasta'liq script 19th cent. Shekastah (Broken) Script. - A number of other siyah mashq sheets are held in the Library of Congress. See in particular 1-84-154.44, 1-87-154.45, 1-84-154.46, 1-87-154.142, and 1-86-154.144. - As an established genre, practice sheets abided to certain rules of formal compositions, largely guided by rhythm and repetition (Safwat 1996, 32). Although siyah mashq sheets survive from ca. 1600, they seem to have been a particularly popular genre during the second half of the 19th century, i.e., during the artistic revival spearheaded by the Qajar ruler Nasir al-Din Shah, who reigned 1848-1896 (Mehdi Zadeh 1369/1950: 44-45 and 54-55; and Diba and Ekhtiar 1998: 239-41). - Dimensions of Written Surface: 13.3 (w) x 21.6 (h) cm - These sheets -- known as siyah mashq (lit. black practice) in Persian -- were entirely covered with writing as a means to practice calligraphy and conserve paper. In time, they became collectible items and thus were signed and dated (this fragment, however, does not appear signed or dated). Many fragments such as this one were provided with a variety of decorative borders and pasted to sheets ornamented with plants or flowers painted in gold. For example, a number of siyah mashq sheets executed at the turn of the 17th century by the great Iranian master of nasta'liq script, 'Imad al-Hasani (d. 1024/1615), were decorated in gold, preserved in albums (muraqqa'at), and provided with illumination by Muhammad Hadi ca. 1160-1172/1747-1759 (Akimushkin 1996: 65, 70, 87, and 91). - This calligraphic exercise is executed in black ink on a background painted in brown. It is provided with a purple frame decorated with gold vines and a second plain pink frame. The framed composition is pasted onto a thicker blue sheet decorated with gold flower sprays. - This calligraphic practice sheet includes a number of diagonal words and letters used in combinations facing upwards and downwards on the folio. The common Persian cursive script nasta'liq is favored here over the more "broken" shikastah script. - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714575

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th-19th centuries, Calligraphic piece of Persian poetry describing "a ruler's duty" written in black nasta'liq script in either Iran or India. - Dimensions of Written Surface: 6.4 (w) x 14.7 (h) cm - Majesty and Affection of Poets / If a variety of ripe peaches are brought to / Your servants by you or they (bring them themselves) / It is not permitted to eat alone / [they are right and know (?)] - Makhduma muhabbat shu'ara / Agar az qism-i shaftalu-yi pur bar az jahat-i / Khuddam avarda bashid ya avarand / Tanha khurdan jayiz nist baqi / [..hakimand wa al-'alam (?)] - The fragment is neither signed nor dated, but may have been executed in Iran or India sometime during the 18th or 19th century. - The verses are written in black nasta'liq script and outlined by cloud bands on a background painted in gold and decorated by floral motifs. In the upper right corner, the intersection between the diagonal lines of text and the rectangular frame is filled by an illuminated triangle (or thumb piece). The text panel is framed by gold, blue, and green borders and is pasted to a larger pink sheet of paper backed by cardboard. - This calligraphic fragment includes a poem in Persian which describes a ruler's duty to share his wealth. The verses read: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714464

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

c. 1400-1525 AD, Interlinear Qur'an, Arabic with Persian interpretation. - Most Qur'ans written in bihari script make us of strong orange or red and blue colors for illuminated motifs, as well as for the main body of the text. This particular fragment repeats lines of script in the following manner: one line of gold, two lines of black, one line of blue, two lines of black, one line of gold. Other bihari Qur'ans may simply alternate black and gold ink for the main text, prefering to keep blue (and red) ink for ornamental designs (Beit Al Qur'an 1996, 105). Also typical appears the picking out in gold of significant words such as "allah" or his various names and epithets (the so-called Asma' Allah al-Husna, or the Beautiful Names of God), which occurs here, most notably, in the first two lines after the sura heading on the left folio. Other bihari Qur'ans also highlight the name of God, sometimes prefering red over gold ink (James 1992b; 104, cat. nos. 27-8). - The borders of the text include a commentary in Persian on a particular verse of the Qur'an. This commentary typically is written in black ink and laid out diagonally in the margin. On the rightmost margin of the verso appears a note cross-referenced with the number 1 to the sixth ayah (verse) of Surat al-Kahf. The commentary elaborates on the meaning of this verse (18:6), in which it is stated: "You would only perchance fret yourself to death, following them in grief if they do not believe in your message." This particular verse's ambiguity seems to have necessitated explanation. Typically, it is explained here that the Prophet Muhammad is met with opposition and persecution at the beginning of his preaching of the Islamic faith, but he must not worry as he will be successful in his mission (Qur'an: 708, fn 2331). In this particular fragment, only a commentary is given in the margin. Other bihari Qur'ans bear double margins, containing both a commentary and alternative readings of certain words appearing in the Qur'anic text (James 1992b: 103, cat. no. 27). - The fragment is written in a script known as bihari, a variant of naskh (cursive) typical of northern India aster Timur's conquest and prior to the establishment of the Mughal Dynasty (ca. 1400-1525 A.D.). Bihari script is reconizable by its emphasis on the sublinear elements of the Arabic letter forms, thickened at their centers and chiseled like swords at their ends (James 1992b, 102). The term bihari derives from the province Bihar in eastern India, but it seems like its alternative spelling bahari describes the size (bahar) of the paper used for writing Qur'ans (ibid; and Rahman 1979, pls. 3-15). - The right side of the folio contains a small catchword written diagonally in black in the lower left corner in order to organize and bind the folios in the correct sequence. The ayah markers here, as on the recto of the folio, consist of eight-petal rosettes outlined in black, with a square gold-leaf center and eight blue dots on their outer edges. - This folio contains, on the right side, verses 2-8 of Surat al-Kahf (The Cave), and, on the left side, verses 67-70 of Chapter 17 of the Qur'an, entitled Surat Bani Isra'il (The Children of Israel), also known as Surat al-Isra' (The Night Journey). With the folio's verso, this fragment includes parts of Chapter 17 and the beginning of Chapter 18 of the Qur'an. - This fragment includes interlinear Persian translation in red ink, as well as marginal commentary (tasfir) on the text written in black ink, appearing in diagonal in the text's border and cross-referenced to the Qur'anic text in a numerical fashion not too dissimilar from today's footnote system. Bihari Qur'ans tend to include a note next to each chapter heading explaining its value and how many times it should be read (james 1992b: 104, cat. no. 28). However, this particular fragment also specifies the total number of words (kalamatuha) and letters (hurufuha) contained in each chapter. - Script: Bihari

Nomi:

Muallifi:

Munshi Ram

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714559

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th century, Four verses of poetry in Persian describing the simple mark and sound of insanity, written by calligrapher Munshi Ram, from West Bengal India in the Nasta'liq script. - Another specimen signed by Munshi Ram is held in the collections of the Library of Congress (1-04-713.19.55). Judging from both specimens, he seems to have been an 18th-century calligrapher who preferred writing verses in nasta'liq script using white ink on red backgrounds. - Dimensions of Written Surface: 10 (w) x 18.1 (h) cm - I and the chain that / Were walking and lamenting together / (that is what) causes the separation between craziness / and enjoyment and wisdom. - In the lower right corner appears the calligrapher's signature: "katabahu al-'abd al-haqar al-anam" (written by the servant, the most humble of mortals), Munshi Ram. This calligrapher may be identified as Munshi Ram (1737-90), a writer specializing in Arabic and Persian who was active in Radhanagar, West Bengal (India). - Man u zanjir ka / Hamnala bi-rah aftadim / Dasht divana juda / Shurash u farzana juda - The text is written in nasta'liq script in white ink on a red ground. The lines of text are separated by green or blue bands decorated with flower and vine motifs painted in gold. - This calligraphic fragment includes four verses of poetry in Persian describing the simple mark and sound of insanity (i.e., the chain). The verses read: - Script: nasta'liq

Nomi:

Muallifi:

Abd al-Rashid Daylami

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714531

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

17th century, Opening page of Sa'di's "Bustan" (The Orchard). From India written in the Nasta'liq script by 'Abd al-Rashid Daylami at the Mughal court for Shah Jahan (r. 1627-1656). Either Agra and Delhi. - As in this case, the first page of a Persian poetical text is easily recognizable, as it is provided with an ornamental panel at the top (sarloh) and the main text usually is decorated by cloud band motifs and decorative illumination between the text and in the gutter separating each verse of poetry. The top frieze contains three yellow flowers -- perhaps intended to represent blooming saffron flowers (although the petals of saffron flowers tend to be of a light purple color) -- as well as a blue horizontal band decorated with a gold leaf and flower motifs. The yellow-orange flower reappears on an otherwise unrelated calligraphic fragment in the Library of Congress (see 1-88-154.41 V). - As in this case, the second page of a Persian poetical text is easily recognizable, as its main text usually is decorated by cloud band motifs and decorative illumination. This follows the pattern established by the first page of text, which is provided with an ornamental panel at the top (sarloh) and also decorated with illumination (see 1-04-713.19.26). Both initial pages also have a central gutter dividing the verses of poetry painted in blue and decorated with interlacing orange, gold, and yellow flowers. - Grace and Liberality Diffusing, and Work Executing / Because He (God) is the Possessor of Creation and Knower of Secrets / Grandeur and Pride are proper for Him, / Whose kingdom is ancient, and nature independent. - He places the crown of fortune on the head of one, / He brings another from a throne to the dust. / This one (has) the cap of Good Fortune on his head, / That one the blanket of Misfortune on his body.

Nomi:

Muallifi:

Fayaz 'Ali Vasi'i

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714680

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

18th-19th centuries, Textual excerpts in Arabic and Persian on faith and poetic verses, written in 18th-19th centuries, in the Indian Tahriri script by the calligrapher Fayaz 'Ali Vasi'i. - As Nahali is a language spoken in Madhya Pradesh, the name of the patron suggests a north central Indian provenance for this calligraphy. The script -- a fluid tahriri found in 18th and 19th-century calligraphies from India -- also suggests an Indian provence. - Dimensions of Written Surface: 14.2 (w) x 23.5 (h) cm - In the lower right corner, the calligrapher Fayaz 'Ali Vasi'i states that he wrote (raqamahu) this fragment, and in the lower left corner he has dedicated (baraya khatir-i) his piece to a certain Mamki Nahali. He has written vertically in the top right margin that he wrote his piece on a Thursday (ruz-i panjshamba), although he does not specify the year. - The text is written in black tahriri script. Some orthographic marks and vowels are picked out in red ink, and all lines of text are separated visually by red strokes. The ends of certain sections or phrases also are marked by pyramids consisting of three red dots. The paper is thin and brown, and damaged at the bottom. - This calligraphic fragment includes a number of textual excerpts in Arabic and Persian. The top three lines include an invocation to God and a saying in Arabic about the necessity to trust in Him. The next few horizontal lines include a saying in Persian about God's will. The diagonal lines of text in the lower half of the fragment quote the famous Persian poet Shaykh Sa'di Shirazi (d. 691/1292) beginning with the note "from the words of Sa'di Shirazi" (min kalam-i Sa'di Shirazi). The text taken from Sa'di is translated from Persian to Arabic in this fragment and gives advice to be aware of what one says. - Script: tahriri

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714571

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

Library of Congress African and Middle Eastern Division Washington, D.C. 20540 USA

Annotatsiya:

16th century, Lyric poems (ghazals) from the "Compendium of Poems" (Divan) of the Persian poet Asifi. Written Nasta'liq script, in Herat or Isfahan during the Safavid era. - Dimensions of Written Surface: 7.7 (w) x 14.1 (h) cm - The ghazals are executed in black nasta'liq script in two columns, separated at the center by a plain gutter marked off by black vertical lines. The two ghazals are divided by an illuminated horizontal register with a gold-painted panel bordered by a blue background decorated with flowers. Though not inscribed, this panel demarcates each independent ghazal. - The text panel is framed by several borders and pasted to a sheet of beige paper decorated with mythical birds (simurgh) painted in gold. The fragment's style and composition are common of Persian manuscripts produced during the Safavid period, i.e., over the course of the 16th and 17th centuries. - These particular verses on the fragment's recto and verso portray a lover's madness and his complaints (shikayat) about the pains of separation (firaq) from the object of his affection. At the end of the first verse on the sixth line appears the poet's signature or pen-name (takhallus), facilitating the identification of the fragment. - This calligraphic fragment includes a variety of lyric poems (ghazals) from the "Compendium of Poems" (Divan) of the Persian poet Asifi. A student of the famous poet Jami (d. 897/1492) in Herat, Asifi remained in the Timurid capital city until his death (923/1517), even during and after the Uzbek invasions. He is known as the precursor of conceptualist poetry. - Script: nasta'liq