Kitoblar

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714506

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, 1-85-154.88, 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: 24.4 (w) x 19.3 (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. Even the calligraphic exercise itself appears on a background of painted clouds or leaves. 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).

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714641

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

17th-18th centuries, An excerpt from Sa'di's (d. 691/1292) "Gulistan" (The Rose Garden), with anecdotal stories (hikayat), written in black Shikastah-Nasta'liq Script in 17th-18th Cent. Iran. - Calligraphic sheets written in shikastah-nasta'liq script similar to this fragment were produced in Iran during the 17th and 18th centuries. - Dimensions of Written Surface: 10.5 (w) x 13.6 (h) cm - The text is executed in black shikastah-nasta'liq on a cream-colored paper. The lines of text, which alternate diagonally, are framed by cloud bands on a gold background. The text panel is framed with red, pink, and green borders, and is pasted to a larger sheet of paper backed by cardboard. In the lower right corner of the frames appears a minute scribble, which may be the calligrapher's signature. Unfortunately, it now is illegible. - This calligraphic fragment appears to comprise an excerpt from Shaykh Sa'di's (d. 691/1292) "Gulistan" (The Rose Garden), in which he provides readers with a variety of anecdotes or stories (hikayat) with moral lessons. This text describes the anger of a king toward his servant and his desire to punish him, upon which the servant writes a letter to stress his faithfulness and to seek forgiveness. This particular story stresses the virtue of royal clemency. - Script: shikastah-nasta'liq

Nomi:

Muallifi:

Kamal al-Din (Ikhtiyar al-Munshi)

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714537

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, Eulogistic composition in Persian (insha') to a king written in the "hanging" ta'liq script by Persian calligrapher, Kamal al-Din Husayn (d. 974/1566-7). Arabic prayers (du'as) around the boarder. - Dimensions of Written Surface: 14 (w) x 24.5 (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). - In the lower right corner of the central text panel appears the calligrapher's signature in black ink. It reads: mashaqahu al-faqir al-haqir ikhtiyar al-munshi, or "written by the poor, lowly, elderly secretary." Ikhtiyar al-Munshi ("the Elderly Secretary") was the nickname (laqab) of Kamal al-Din Husayn (d. 974/1566-7), a calligrapher active 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 (1-87-154.157) and the Sackler Gallery of Art (29.63 and 29.64) -- he also was a master of ta'liq and tarassul. - This calligraphic fragment includes a central panel with an eulogistic composition (insha') to a king written in the "hanging" ta'liq script. Except for one line written in black ink, all other horizontal and diagonal lines are written in white and outlined in black ink. Above the text panel appears a bayt (verse) divided into two columns about the power of miracles (mu'jizat) composed by the great Persian poet Nizami (d. 614/1218). The bayt is written in black nasta'liq script on beige paper. All around the text panel appears a blue border inscribed with Arabic prayers (du'as) written in black ta'liq script. The entirety of the composition is pasted to a large beige paper decorated with gold flecks and backed by cardboard. - Script: various

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714561

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

17th-18th centuries, Unidentified Persian text fragment about the futility of the world, written in the Nasta'liq script in Iran or India, 17th or 18th century. - Dimensions of Written Surface: 5.4 (w) x 12 (h) cm - The recto and verso of his calligraphic fragment contains portions of an unidentified Persian text about the futility of the world. The text continues on the fragment's verso (1-04-713.19.6 V) which includes a chapter, provided with a heading in red ink in the center of the text panel, providing a description (sifat) of craftsmen in a particular land. - The script and page layout suggest that this fragment was executed in Iran or India during the 17th or 18th century. - The text is executed in a rather hasty nasta'liq script written horizontally in two columns and diagonally in one column. A number of lines are lost due to water damage. The text and folio frames consist of a number of borders in gold, red, and blue, while the text's margins are decorated with a series of floral sprays and leaves painted in gold. - Script: nasta'liq

Nomi:

Muallifi:

Muhammad Muhsin Lahuri

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714525

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, Quatrain on the virtue of patience, produced in 18th Cent India, present day Pakistan (Lahore) in Nasta'liq script. - Dimensions of Written Surface: 10.3 (w) x 20.5 (h) cm - I went to the doctor, asked about my severe pain / (And) what could he do for my lovesickness / He ordered as a drink the blood of liver and water of the eye / I said: "What kind of food (is that)?," and he answered: "You must eat liver." - Raftam bi-tabib guftam az ghayat-i dard / Bimari-yi 'ishq-ra cha mibayad kard / Khun-i jigar ab-i dida sharbat farmud / Guftam ka ghaza guft jigar bayad kard - The doctor recommends his lovesick patient to endure (literally, "eat liver" or jigar khwurdan) the pains of love, as there is no medicinal potion that will cure him. - The verses are written diagonally in nasta'liq script in white ink on a light brown paper. The calligrapher Muhammad Muhsin has signed his work (raqamahu, or "has written it") in the lower left corner. On the verso of this fragment appears a later note in English attributing the work to a certain "Muhammad Muhsin Lahuri." He can be identified as Muhammad Muhsin Lahuri, who may have have formed part of a group of calligraphers active in Lahore during the 18th century that included 'Abdallah Lahuri (1-04-713.19.43) and Muhammad Zahir Lahuri (1-04-713.19.40). After the death of Aurangzeb (d. 1707), Mughal power was decentralized and royal patronage of calligraphy declined. The rise of new styles emerged in cities like Lucknow, Hyderabad, and Lahore, where calligraphers active in the nasta'liq script such as Muhammad Muhsin sought out patronage from local rulers. - This calligraphic fragment includes an iambic pentameter quatrain, or ruba'i, on the need for endurance. The verses read: - Script: nasta'liq

Nomi:

Muallifi:

Pir Muhammad b. Dust Muhammad

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714686

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

Persian quatrain on unity of lovers, written in the black Nasta'liq script by the calligrapher Pir Muhammad b. Dust Muhammad - Dimensions of Written Surface: 7.8 (w) x 15.5 (h) cm - How good is that person in the bazaar of love / He died for your sadness and bought your sorrow with his heart / It is not today that the story of love in Salman's heart (began) / God created me and my love of you in tandem - In the bottom horizontal panel, the calligrapher Pir Muhammad b. Dust Muhammad states that he wrote (katabahu) the piece. In the lower left corner of the text panel, he also specifies that he has copied the handwritting (naql min khatt) of the master teacher (ustadh al-kamil) Muhammad 'Ali Bukhari. Pir Muhammad b. Dust Muhammad's statement suggests that he may have used a calligraphic specimen by (his?) teacher as a model for his own, either adapting it or copying it directly. Unfortunately, as neither calligrapher appears recorded in historical sources, it is difficult to suggest a date of execution and a provenance for this piece. - Khurram kasi ka bar sar-i bazar 'ashiqi / Jan dar ghammat badad u ghammat-ra bi-jan kharid / Imruz nist dar sar-i Salman hadis-i 'ishq / Kizad mara u 'ishq-i tura ba ham afarid - The verses are executed in black nasta'liq script on a beige paper framed by a pasted border decorated with interlacing leaf and vine motifs. - This calligraphic fragment includes an iambic pentameter quatrain, or ruba'i, on the primordiality of a lover's affection. Beginning with an invocation to "God, the Glorious" (huwa al-'aziz), the verses read: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714501

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

c. 1850-1900, 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 1-87-154.45, 1-84-154.46, 1-85-154.88, 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: 18.5 (w) x 24.5 (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 preserved and provided with illumination by Muhammad Hadi ca. 1160-1172/1747-1759 (Akimushkin 1996: 65, 70, 87, and 91). - 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:

2019714679

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

ca. 1900, Good wishes for Nowruz or 'id (feast day), written in the Thuluth script on behalf of Pari Beygum Sahib, the wife of Amanullah Khan, the last amir of the Barakzay Dynasty (r. 1919-29) in Kabul Afghanistan. - Ay nashat-i 'id az nam-i shuma-st / Rahat-i giti za aram-i shuma-st / Qulqul-i mina-st ta dur-i sipihr / Bada-yi iqbal dar jam-i shuma-st - Below the text panel appears another fragment of text cut out and pasted to the larger sheet of paper backed by cardboard. The two lines read: "On behalf of (baraya khatir) Pari Beygum Sahib, may she live long!" Although the name of the calligrapher and the date of the composition are not specified, Pari Beygum Sahib may be identified as the wife of Amanullah Khan, the last amir (prince or king) of the Barakzay Dynasty (r. 1919-29), the ruling family of the independent kingdom of Afghanistan from 1839-1926. She was a former lady-in-waiting (pari) to the ruler's mother before becoming his royal consort (beygum). She died during childbirth in Kabul in 1912. This calligraphic specimen may have been executed for her on the occasion of 'id in Kabul sometime around 1900. - Dimensions of Written Surface: 23.5 (w) x 24.5 (h) cm - Oh, the joy of 'id is from your name / The comfort of the world is from your peacefulness / The bubbling of the sky reaches the celestial spheres / The wine of chance is in your glass - The verses are written in black thuluth script on a beige paper framed by cloud bands and placed on a background decorated by pasted pieces of white-and-blue marble (abri or ebru) paper. The lower right and the upper left corners of the text panel have been lost and repaired with a two triangular pieces of beige paper. Missing letters in these two corners have also been filled in. - This calligraphic fragment includes four lines in Persian wishing its owner good fortune and happiness on the occasion of 'id. Initiated by a praise to God, the Glorified (huwa al-'aziz), the verses read: - Script: thuluth

Nomi:

Muallifi:

Mirza Quli Mayli

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714676

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

17th-18th centuries, An Muraqqa' of calligraphies with several Persian poetry verses, written in black Nasta'liq script by the calligapher Mirza Quli Mayli during the 17th-18 cent Iran. - Dimensions of Written Surface: 11.5 (w) x 19.2 (h) cm - In the center of the text panel appears one iambic pentameter quatrain, or ruba'i, and two verses (tak bayt) by the Deccani poet Shaykh Fayzi Hindi. The quatrain reads: - In the lower left corner of the panel containing the diagonal verses by Shaykh Fayzi Hindi, the calligapher Mirza Quli Mayli has signed his work with his name inscribed vertically. He was most likely a calligrapher active in Persia (Iran) during the 17th or 18th century. - In the right column, an iambic pentameter quatrain, or ruba'i, by Shaykh Fayzi Hindi written in diagonal describes the effects of love. Another one of his love quatrains also appears on the main text panel on the fragment's recto (1-88-154.32 R). - Oh God, how do you appear when my eye looks upon your face / By every glance it (my eye) is beguiled to take another look / Oh, from the lie of procrastination at the foot of deceit / On tomorrow's Day of Gathering, s/he searches for another tomorrow - The quatrain describes a lover's enchantment at his beloved's face, which entices him to look at it again and again. - The verses are executed in black nasta'liq script in diagonal on a cream-colored paper and in horizontal on panels made of beige paper. Corners created by the intersection of the diagonal verses and the horizontal and vertical frames are filled with illuminated triangular panels. The text panel is framed by borders of various colors and pasted to a larger sheet of beige paper decorated with various vegetal and geometric motifs painted in gold. - The verses are written in black nasta'liq script on a blue paper decorated with leaf motifs painted in gold. Verses also form registers around the central text panel, separated by squares filled with decorative motifs in blue or gold. The entire text panel is pasted to a larger cream-colored sheet decorated with painted gold flowers and backed by cardboard. - The verso of this folio from an album (muraqqa') of calligraphies includes excerpts by the poets Shaykh Fayzi Hindi (d. 1004/1595-6), Mawlana Baqiri (11/17th century), and (Muhammad Husayn) Chalabi Tabrizi (11/17th century). The names of the three poets are picked out in red ink on the folio and are followed by their respective poetical verses. - This calligraphic sample from an album (muraqqa') of calligraphies includes poetical verses composed by the poets Zahir Fariyabi (d. 598/1202), (Shaykh) Fayzi (d. 1004/1595-6), Khwajah Afzal-i Taraka (d. 580/1185), and Asir (al-Din) Akhsikati (d. 577/1181 or 579/1183). Their names are picked out in gold ink and are followed by their respective verses, which are chosen for their thematic unity. They all describe the power of love ('ishq) and its rewards. - Ya rabb, cha mahari tu ka chasm-i man az rukhat / Dar har nigah mahv-i tamasha-yi digar ast / Ah az durugh-i va'ida-yi u kaz pay-yi farib / Farda-yi hashr talib-i farda-yi digar ast - Script: nasta'liq

Nomi:

Muallifi:

Safi al-Husayni

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714517

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

Calligraphic fragment with four verses of Persian poetry attributed to Safi al-Husayni in the 16th cent in the Nasta'liq script from India or Iran. - [I want] to see your face again / Seeing your beauty... made my fortune / Hand... without end / [Their] presence made (my) heart and eye happy - Bazam... didan-i ruyat... / Jamalat dida bakhtam... shud / Dast-i... bi-karana / Mujab-i 'aysh dil u [dida?] shud - Dimensions of Written Surface: 12 (w) x 22.5 (h) cm - In the upper right corner appears a pasted gold panel, while the lower right corner contains the truncated name of the calligrapher, Safi al-Husayni. This calligrapher is otherwise unknown, although he may have been active in Persia or India sometime during or after the 16th century. - This calligraphic fragment is in very poor condition. The four verses of Persian poetry are interrupted by a number of large holes in the paper. A few words can be read, however: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714542

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

19th-20th centuries, Three bayts (verses) of Persian poetry by Jahan Malak Khatun, a female poet of the Qajar period (1797-1925). Writen in Nasta'liq script 19th or early 20th Cent. - Ay dar baqaya dhat-i tu basta baqa-yi mulk / Bar qamat-i tu dukhta dawlat qaba-yi mulk / Mulk az siyasat-i tu chunan shud ka hich murgh / Gustakh par namizanad andar hava-yi mulk / Malak (or mulk)-i Jahan tua bi-du'a khwast az khuda / Vin yaft nasrat az barakat du'a-yi mulk - Dimensions of Written Surface: 19.8 (w) x 8.3 (h) cm - Oh, the continuity of power depends on the survival of your substance / Good fortune has sewn a cloak of power for your rank / Your policy on the land was such that not even one bird / Could fly away into the air of the country / Malak-i Jahan (or the power of the world) wants you to invoke God / And this will will bring victory as blessings from the prayer of power - The diagonal verses are executed in black nasta'liq script on a beige paper and framed by cloud bands on a gold background. Blue and beige frames decorated with gold sprinkles have been pasted onto the sheet in a rather sloppy manner. - The text panel originally contained a signature in the lower left corner, which has been erased and is no longer legible. As Jahan Malak Khatun was active in Persia (Iran) over the course of the 19th century, this particular fragment must have been produced sometime in the 19th or 20th century. - This calligraphic panel includes three bayts (verses) of Persian poetry possibly composed by Jahan Malak Khatun, a female poet of the Qajar period (1797-1925). Beginning with an invocation of God as forgiving (al-ghafur) and merciful (al-rahim), the verses then provide a repeated versified prayer (du'a) for the patron's continued power (mulk): - Script: nasta'liq

Nomi:

Muallifi:

Lutfallah Khan

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714651

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, Petition for Funds; Insha' literary compositions or letters (insha') written by the calligrapher Lutfallah Khan, in the Indian Nasta'liq script, from Janpur in India in the 18th Cent. - At the top of the verso of this fragment appears a now illegible attribution note stating that the text was written in the "handwriting of" (khatt-i...). The calligrapher may well be Lutfallah Khan, who also executed the text on the fragment's recto (1-87-154.146a R). The text itself, written in a crisp nasta'liq, is highly florid. It begins with a poetical excerpt dedicated to the addressee, calling him the "flower of the garden and the towers of Fortune." The writer states that he was very happy to see him, that he was satisfied, and that he treasures their friendship. - Dimensions of Written Surface: Recto: 5.2 (w) x 13.8 (h) cm. Dimensions of Written Surface: Verso: 4.6 (w) x 11 (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...).

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714630

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

15th-16th centuries, Story 40 from Sa'di's (d. 691/1292) "Gulistan" (The Rose Garden), "The Chinese Girl and the Slave" written in black nasta'liq script during the Timurid and Safavid periods in Persia (Iran), i.e., during the 15th and 16th centuries. - Dimensions of Written Surface: Recto: 10.4 (w) x 19.5 (h) cm. Dimensions of Written Surface: Verso: 10.5 (w) x 19.8 (h) cm - The text is written in black nasta'liq script on a blue paper framed by several borders and pasted to a beige paper decorated by flower and leaf motifs painted in gold. The prose part of the text is executed in continuous horizontal lines, while the poetical verses interspersed throughout the narrative are outlined by rectangular frames provided with central gutters. This layout is found in manuscripts of Sa'di's "Gulistan" produced during the Timurid and Safavid periods in Persia (Iran), i.e., during the 15th and 16th centuries. - The text on the recto describes the slave in an unflattering manner. While on the verso, the text continues by describing the king's giving away of the Chinese servant girl to the slave, since she was already "consumed." The terminal verses indeed conclude: - The thirsty heart does not wish for limpid water / Half of which was consumed by a fetid mouth. / How can a king's hand again touch / An orange after it has fallen into dung? - This fragment and its verso (1-85-154.98 V) include the text of Story 40 from Sa'di's (d. 691/1292) "Gulistan" (The Rose Garden). This story describes a king's giving away of a Chinese servant girl to his slave after she refused the king's drunken advances. - Script: nasta'liq

Nomi:

Muallifi:

Khan Zaman

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714675

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 Khan Zaman, in the Indian Nasta'liq script, from Janpur in India in the 18th Cent. - Dimensions of Written Surface: Recto: 7 (w) x 13.5 (h) cm. Dimensions of Written Surface: Verso: 12 (w) x 24.5 (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 note at the top of the verso of this calligraphic fragment attributes the writing (khatt) to Khan Zaman. The main text, written in black ink on a white paper, consists of the writer's letter to his dear friend or brother (baradar-i mahraban-i man). He states that he is happy to have received his letter and that he now writes back with great joy (ishtiyaq). He also hopes for further continued contact. - The recto of this particular calligraphic fragment is attributed to Khan Zaman on the top horizontal, although the attribution note is quite damaged. In the lower right margin appears a squiggle motif and some hasty inscriptions. The main text, written in black ink on white paper, is addressed to the writer's dear brother or friend (baradar-i mahraban-i man). The writer states that he is well, that he received the latter's letter, and that he hopes to see him soon. - 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. - Script: Indian nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714605

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, Id (feast day) quatrain, or ruba'i, written in black Nasta'liq in Iran during 16th or 17th century. - Dimensions of Written Surface: 6.5 (w) x 13.7 (h) cm - In the top left corner of the text panel, an invocation to God initiates the poem with the expression"huwa al-mu'izz" (He is the Glorified). Then follows the quatrain, which reads: - May your heart be like the sea and your hand like the mineral, / Like the heart and the hand of God, / King of the world who orders, / May you always run across the world. - Ta dil u dast bahr u kan bashad / Dil u dast-i khudayagan bashad / Padishah-i jahan ka farmanash / Bar jahan da'iman ravan bashad - This iambic pentameter quatrain, or ruba'i, is written in black nasta'liq and surrounded by cloud bands on a gold background. It is not signed or dated, although the script suggests that it was executed in Persia (Iran) sometime in the 16th or 17th century. Provided with several monochromatic frames, the text page is pasted to a pink paper strengthened with cardboard. - This quatrain provides a prayer (du'a) for a ruler, comparing his generosity to God and hoping that his authority, much like God's, may spread far and wide. - Script: nasta'liq

Nomi:

Muallifi:

Malik (Daylami)

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714642

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, A maxim from the "Munajat" (Supplications) by the Persian scholar Khwajah 'Abdallah Ansari (d. 481/1088), written in black nasta'liq script, Safavid era Iran. - Dimensions of Written Surface: 14.8 (w) x 8.5 (h) cm - Immediately after the praise of God appears the calligrapher's signature: "mashq-i Malik" (composition of Malik). Malik may be identified as the calligrapher Malik Daylami, who was in the service of the Safavid ruler Shah Tahmasp, who reigned from 1524 to 1576 (Huart 1972: 237-8; and Qadi Ahmad 1959: 141-5). He was responsible for creating inscriptions for the ruler's royal buildings and collaborated with his contemporary Shah Mahmud al-Nishapuri (see 1-87-154.155) in the composing of the famous "Haft Awrang" (Seven Pavilions) of Jami commissioned by the king's nephew, Sultan Ibrahim Mirza (Simpson 1993). If this fragment indeed was composed by Malik Daylami, then it represents the output of the Persian nasta'liq school of calligraphy around the middle of the 16th century. - Sari ka daru sujud nist safcha bah az u / Va kafi ka daru jud nist kafcha bah az u - The two lines of text are executed in black nasta'liq script on beige paper and framed by delicate cloud bands on a gold illuminated background. The text panel is framed by a variety of borders and pasted to a sheet of purple paper decorated with gold interlacing flower motifs. Between and below the two main lines of text appear a minute inscription reading: "God, everyone fears You, but 'Abdallah fears himself, because everything that is good comes from You, and everything that is evil comes from 'Abdallah (i.e., the servant of God)." This diminutive sentence serves as the author's praise of God's munificence and kindness. - The unripe melon is better than the head that does not prostrate / And the soup ladle is better than the palm that does not give - This calligraphic fragment includes a maxim drawn from the "Munajat" (Supplications) of the great Persian mystic and scholar Khwajah 'Abdallah Ansari (d. 481/1088). The two lines describe the benefits of prayer and generosity: - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714620

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, Illuminated carpet page of letter (mufradat) exercises on three horizontal lines and Persian poetic excerpts, common in Safavid and Ottoman lands. - Albums of mufradat exercises include the single letters (al-huruf al-mufradah or, in the Ottoman tradition, huruf-i muqatta'a) of the Arabic alphabet in sequence, followed by letters in their composite form (in the Turkish tradition, murekkebe, lit. "pairs"). Exercise books begin at least by the 17th-century in Ottoman and Persian lands. They were used as books of exemplars of calligraphy to introduce students into the practice of husn al-khatt (beautiful handwriting) and bear witness to the chain of transmission of calligraphic knowledge throughout the centuries (Safwat 1996: 12-3). - Dimensions of Written Surface: 11.3 (w) x 19.4 (h) cm - The lowest horizontal band containing motifs on a dark blue ground and two gold scalloped roundels is composed of two rectangular panels cut out from another work and pasted onto the sheet. This procedure shows that materials were culled from other sources and 'recycled' in other works, such as this poetical letter exercise. In the right margin appears the number 13, which indicates that the folio was probably one of many pages in a now dispersed album. - There are a number of other letter exercise albums in the collections of the Library of Congress. One album stands out in particular, as it is complete and was signed by the 20th-century calligrapher Muhammad Muhsin (see 1-87-154.128a-b, 1-87-154.128b and 1-88-154.36a-b). - This fragment includes double letter combinations with the letters h, gutteral s and sh and subsequent letters of the alphabet arranged in three horizontal registers. Immediately below each horizontal band of composite letters appear a series of Persian verses by several authors. One is identified with the epithet Sa'd al-Haqq wa-al-Din: he may be synonymous with the great Persian poet Sa'di (d. 691/1292). - This particular calligraphic fragment creates an illuminated carpet page, which combines letter (mufradat) exercises on three horizontal lines and Persian poetical excerpts written in diagonal between colored triangular corners (called "thumb pieces"). It is the second of two fragments from the same fragmentary album held in the collections of the Library of Congress (see 1-85-154.80). - Script: nasta'liq

Nomi:

Muallifi:

Muhammad Husayn

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714606

Hujjat yuklab olingan manba:

Library of Congress

Saqlanish joyi:

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

Annotatsiya:

19th-20th centuries, Eulogy to a ruler, in Persian, eulogy (na't) dedicated to a king, written by calligrapher Muhammad Husayn in black nasta'liq script in 20th century Iran or India. - Dimensions of Written Surface: 12.5 (w) x 26.8 (h) cm - In the lower left corner of the text panel, the calligrapher has signed his work with the expression: fidavi dargah Muhammad Husayn tab' namud ("the devoted slave at [your] presence [or court], Muhammad Husayn marked [made] it"). Although otherwise unrecorded, Muhammad Husayn may have been a calligrapher active in Iran or India at the turn of the 20th century. - Khuda ya bi-rahmat nadar karda'i / Ka in sayah bar khalq gustarda'i / Talabkar-i khayr-i tu am banda var / Khuda ya tu in sayah payanda dar - Oh God, You have looked (down) with mercy / Because You extended this shadow to the people / Like a slave, I seek your goodness / Oh God, You Everlasting Shadow - The verses are written in black nasta'liq script framed by cloud bands on a beige sheet of paper whose background is painted in gold. In the upper right corner appears an invocation to God as the Guide (huwa al-hadi) written in a script known as khatt al-taj ("crown writing"), in which letters interlace to form decorative coronets. Khatt al-taj is a rather late calligraphic invention, appearing by far and large in specimens produced during the 19th and 20th centuries (al-Bahnasi 1995, 19). - This calligraphic fragment includes a Persian eulogy (na't) to a king, describing him as the shadow (sayah) of God on earth. The verses read: - Script: nasta'liq

Nomi:

Muallifi:

Shah Mahmud al-Nishapuri

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714656

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, Various verses of Persian poetry written by calligrapher Shah Mahmud al-Nishapuri in the Nasta'liq script during the Safavid era Iran. - Dimensions of Written Surface: 21.5 (w) x 32.3 (h) cm - In the lower left corner of the panel containing the ruba'i, the "servant" (al-'abd) Shah Mahmud has stated that he wrote this specimen (katabahu). The calligrapher Shah Mahmud al-Nishapuri (d. 972/1564-5 in Mashhad) was one of the most celebrated masters of nasta'liq script active during the reign of the Safavid king Shah Tahmasp (r. 1524-76) in Tabriz. His beautiful handwriting earned him the nickname "Golden Pen" (Zarrin Qalam) and he was a poet in his own right (Qadi Ahmad 1959: 135-138). A number of calligraphic fragments (qit'as) signed by him are held in international collections (see, for example, Safwat 1996, cat. no. 63; and Sackler Gallery of Art no. 37.35 a-b). - Kamkara nistam yara ka pish-i hazratat / Shima-yi zhirr za hal bi-nava'i ha kunam / Layk daram iltimas-i khil'at-i pakiza / Ta bapusham nadz-i mardum khud nama'iha kunam - Oh Friend, I am not successful compared to you / I appear small and indigent / Nonetheless, I beg (of you) a clean robe / So that I can wear (it) and show off in front of people - This calligraphic page includes a number of verses of poetry in the central text area and in the many rectangular panels forming borders. In the main, central text area appears an iambic pentameter quatrain, or ruba'i, written in diagonal. The verses solicit borrowed grandeur and read: - Verses immediately surrounding the main panel of text are individually cut out and pasted so as to create a textual frame, while verses in the rectangular panels contained on the outermost salmon-colored border are executed directly on the sheet of paper. For this reason, it is possible that these verses were not executed by Shah Mahmud al-Nishapuri. Rather, they may have been added by a different calligrapher or album compiler at a later date. All text panels have been pasted to a larger blue sheet, backed by cardboard, decorated with flowers and plants painted in gold. - Script: nasta'liq

Nomi:

Muallifi:

-

Turi:

Qo'lyozma

Davlati:

Amerika Qoʻshma Shtatlari

Inventor raqami:

2019714650

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, Persian verses by the poet Jami (d. 897/1492), written in black nasta'liq script produced in 16th- or 17th-century Iran. - Agar maqsud didar ast bar gu / Agar ba haqq tura kar ast bar gu / Chu nam-i haqq shanid an mast-i hayran / (biburd) ah u bidad az yad-i haqq jan - Dimensions of Written Surface: 17.5 (w) x 26.1 (h) cm - If your wish is to meet, say so / If you need something from God, say so / When the mystic (i.e., the "intoxicated with ecstasy") heard the name of the Lord /He sighed and expired from the remembrance of God - The fragment is neither dated nor signed. However, it appears to have been produced in 16th- or 17th-century Iran and placed later into an album (muraqqa') of calligraphies. - The verses are executed in black nasta'liq script on brown paper and are framed by cloud bands on a gold background. The spaces left open by the intersection of the diagonal registers and the inner frame are filled with blue, gold, and black illumination. The text panel is framed with several borders, including one painted in white and gold containing verses inscribed in independent registers. The outer frame is dark blue and decorated with white and red flowers, and is pasted to a larger pink sheet of paper ornamented with gold-painted flowers and backed by cardboard. - This calligraphic fragment includes verses composed by the famous Persian poet Jami (d. 897/1492), whose name appears in the lower horizontal panel inscribed with the verse: qasd-i shuhrat (nabavad) Jami-ra (Jami does not try to seek fame). In the two diagonal registers in the central text panel, the verses describe mystical union with God: - Script: nasta'liq