Professional Documents
Culture Documents
Manuscripts of Ottoman-Safavid Relations
Manuscripts of Ottoman-Safavid Relations
Ottoman-Safavid Relations
Author(s): Filiz aman and Zeren Tanindi
Source: Muqarnas, Vol. 13 (1996), pp. 132-148
Published by: Brill
Stable URL: http://www.jstor.org/stable/1523256
Accessed: 09-08-2016 10:12 UTC
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133
Fig.
1.
rL
Prophet
Khurasan,
.'~'
'V
Muhammad
1568.
Topkapi
and
the
Palace
priest
Librar
His son Muhammad-Salih Bitikchi was living in Astarabad in 1538 and was governor of that city for a time. How-
rasan in 1510 and became governor of Khurasan in 1521.5 containing examples of works by these two artists and
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134
?r??
.?'
?
; *'' " ii ;;??.
i ??(?ii:?firle;;:1
I%
under the patronage of a Safavid noble or dignitary (/;.*S=cfC?rClli*;CI)
,
r
:"
r?:
rl
t
.VV
'i
Ii
? :r
Jifc
.
..
III (r. 1703-30) dated 1115 (1703), and yet another fain
and illegible seal. The seal of Selim I, known as the tr
sury seal, was used to seal the door of the sultan's tre
sury and chests and bags containing precious objects a
(19 October-16 November 1686). Mustafa Pasha was second vizier to Sultan Mehmed IV (1648-87), and married
for
province of Bakharz." The close correspondence be-identified as Sulayman Khalif Turkman, appointed as
tween these two works in size and the design of the illu-governor of Tun in 1581.'9 He was the son of the Qizilbash amir Suhrab Khalif Turkman and the son-in-law of
mination and miniatures strongly suggests that they were
produced at the same workshop.'2 The Asar-i Muzaffar Murtaza Quli Khan, governor of Mashhad.20 He serve
has a magnificent lacquered binding with floriatedas governor of Tun and Tabas in southern Khurasan dur
designs on the outer covers and a combination of flor- ing the reign of Shah Muhammad Khudabanda, and was
iated designs with mythological beasts on the inside cov- appointed governor of Qum on the day Shah CAbba
acceded to the throne in 1587.2' According to the co
er. The binding of the Divan of Hafiz is lost.
Clues to the rest of the story of this book - producedophon (fols. 209b-210a), it was copied by Husayn ibn
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135
Lisk ;`;-'Fa.y g-BILLJ% a II~ l ~YI: ~ ~ iC P .CI IFL J A BBY -rl l Ip -~,pr L~Cqn~~aE~ l ~~ a IEr
?.
Fig.
4.
?-
Detail
of
fol. 6a.
Qasim al-Tuni for Sultan Sulayman on 20 Ramadan 989 CAbdullah Shirazi (fol. 6a) (fig. 4). According to the pri(18 October 1581). In addition, at the end of the prefacemary sources, CAbdullah was a well-known mudhahhib (il(fol. 4a) a note records that it was copied by Sultanluminator) from Shiraz, a skilled rawghani (lacquerer),
and a close friend of Ibrahim Mirza, for whom he
Husayn al-Tuni in the middle (avasit) of the month of
Rabic I 994 (ca. 2-11 March 1586) in Tun.22 The miniaworked for twenty years. After Ibrahim Mirza's death in
tures and illumination of the manuscript were executed1577, CAbdullah Shirazi worked briefly for Ismacil II, but
Ismacil died in the same year (24 November 1577). Subinner covers of the binding, which has an envelope
sequentlyflap,
he served as farrash at the shrine of Imam Riza
are lacquered. On the front cover a noblewoman
in Mashhad.
andFrom his surviving works we know that he
her retinue are depicted in the countryside; was
on the
backan illuminator, but also a celebrated painter
not only
cover are a nobleman and his retinue. On the back envewho worked in the kitabkhana (atelier) sponsored by the
lope flap some men stroll in a country setting
notable
while
Safavid patron of the arts, Ibrahim Mirza.23 He
human faces amid abstract decoration and is signed by death of Ibrahim Mirza.
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136
by Hilali in the Topkapi Palace Museum Library is recorded in a star-shaped medallion on the colophon
page, with the date 987 (1579-80) (R. 918, fol. 57a) (figs.
8-9) .27
170b, 85b) (fig. 10). It is hard to say whether the lacquered binding is the work of CAbdullah Shirazi, who was
also a lacquerer: the figurative painting on the binding
Although nothing is known about this artist, the coginscribed by Hafiz. The second (fol. 148a) gives the date
nomen Ibrahimi indicates that he was in the service of
6 Muharram 829 (18 November 1425), and the third (fol.
Ibrahim Mirza. His style is very similar, particularly
421b)in
Sha'ban 829 (8 June-6 July 1426). The last two
certain details, to that displayed in miniatures attributed
also state that those sections of the manuscript were
to Shaykh Muhammad who worked for Ibrahim Mirza.2;
copied by CAbdullah ibn Lutfullah, alias Hafiz-i Abru.
The other two paintings (fols. 129a, 156a) bear noThe
signaminiatures in this book show variations of style
ture, but so closely resemble those of CAbdullah which
Shirazi
indicate that they could well have been executed
that they must be his work (figs. 6-7). One of these
is athe interval between the first and last two colduring
double-page garden scene miniature in a copy of ophons.
Sifat alMoreover, on the first page (fol. la) of this copy
Cashiqin by Hilali in which the date, 989 (1581), and
the there is an illuminated medallion in early-fif(H. 1653)
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137
'-bi
I'.:J i?"?:
luu
...
*' ao
'''%uf I ''.
21k1
"* /:;
1?;:c' v.
*r
/ ^^
l y
A^ *
*<!"
-$if
;,~~~~~~~~~~~~~~~7
?.
....
..
L."~:':"'..,:;."i
rik ...~~~o.
':
:.i *~~~~~c
..',!1
:'
....
~1':
I . l i ; W A i U 5 U
i
I~~~~~~~~~~~~--
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138
Fig. 10. A young man and his companions in a kiosk. Divan of Hafiz. kapi Palace Library, H. 1654, fol. la.
Tun, 1581-86. Topkapi Palace Library, H. 986, fol. 170b.
cord the owners of the book over the century duringout of favor in 1326 and went to Herat it is possible that
which it made its way from the Ilkhanids into the trea-he took this copy of the Jamic al-tawanrkh, which he
owned, with him. Since the writer of the note concernsury of Shahrukh.
One of these owners was Choban (d. 1327), a cele- ing a birth in a country house in Khoy in August 1341 was
brated statesman under the Ilkhanid ruler Abu Sacid (d. from Khwarazm, it is possible that this second note was
1335).30 The note states that Choban conquered landswritten in Herat. If, on the other hand, Choban did not
for the state of Ghazan, but that then his fortunes
take the book with him, it probably passed into the
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139
"i3i
'
I-.
*s
'
?
,
1,
K"
\r' . :.. .. . .S
..:' '>st *X.!^+......... ............. . ,**; . ,. , ...... ..i.. ...
. . i ' ..................... . - i l *4 J
.L.:~
t\494c? .4: ,, . i ,, . ...
LSj^L>Y^S^^
,'AA,,\^c^^?
; . ",M~^ .^^' t - . _,^ S..aS
i^U^^S ,?i?
Fig. 13.
Fig. 12. Illuminated heading. Jamic al-tawarnkh. 1590's. Topkapi
Pal- Illuminated heading. Jdmi' al-t
717
ace
ace
(14Library,
July
Library,
1317) on H.
fol. 1654,
350a.
H.
Almost
1654,
fol.
all 295b.
of itsfol.
minia- 295b
ace Library, H. 1654, fol. 168b.
The
second copy of the Jami' althe reign of Shahrukh. The illuminated chapter
headings, on the other hand, are in the style used widely
the Topkapi
in
Palace Museum Librar
717
Safavid-period books (fols. 6b, 375b, 391b, 422b).3'
The(14 July 1317) on fol. 350a. Al
tures
first pages of some sections have the designs for
illumi-were executed during the re
thenot
firstyet
page is a star-shaped medallion illuminated in
nation in the same style sketched out in black but
Safavid
style containing an inscription reporting that this
painted in (fols. 326b, 329b, 411b); one of the
chapter
book
was made by order of the kitabkhana of Farhad
headings is completely blank (fol. 342b). The text
is writKhan
Qaramanlu (fig. 11).33 The headpieces of each secten on cream-colored polished paper, with strips of thick
tion
are
again illuminated in the Safavid style of the last
pink paper pasted along the margins. There is evidence
quarter
of
that the illumination and margin borders date from thethe sixteenth century (fols. 2b, 168b, 237b,
251b, 272b,
late sixteenth century. The binding has an inscription
of 295b, 328b) (figs. 12-13) .34 This text is also
written
on cream-colored polished paper with borders of
the Zu 'l-vahayn Kiitiibhane-i Humayun established
by Sulthick pink paper. The original binding has been
tan Abdulhamid II (1876-1909) at the Yildiz Palace, in
Istanbul.
replaced by the distinctive type used by the library at th
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140
spite political upheavals during the years 1590-99, sug-portrait and other paintings attributed to Muhammad
gests that he, as well as CAli Quli Khan, may have playedconfirm
a
that CAli-Quli Khan was an active patron of t
role in encouraging Shah CAbbas to patronize the arts.arts in Herat between 1577 and 1588. In later life, Ha
dedication page of the Jdmic al-tawarnkh is further eviIraq, where he visited the holy sites and after remaini
dence that he was both a patron of the arts and a bibliin Baghdad for three or four years went to Mecca an
Medina. He died in the Hijaz in 1592-93.50
ophile. Farhad Khan must have had the copies of the latter work in the palace collection repaired in Khurasan or After the death of CAli-Quli Khan, Hasan CAli Katib l
Fars, probably in the 1590's; at that time the borders
Herat, either to find a new place to live and work or f
volume, a process which enlarged the book's size,45 andLibrary contains two manuscripts copied by Hasan CA
the illuminators decorated the chapter headpieces.
Katib in Karbala consisting of extracts from the Mun
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141
Fig. 14. Peris in the forest. Munajat of 'Abdullah Ansari. Karbala, ca. 1590. Topkapi Palace Library, R. 10
decorated Ansari.
with gilded scenes of forest life. These margin(intimate conversation with God) by CAbdullah
One of these (R. 1046) consists of an extract
from Ansaal decorations
are brilliant examples of their kind in
both
theme and
technique.
The manuscript contains
ri's work,5' bound together with a copy of
CArifi's
Guy
u
five paintings,
two are double-paged painting spreads at
Chawgan, the latter inscribed by the celebrated
calligrathescript
beginning
and
end of the treatise. The first depicts a
pher Shah-Mahmud in a fine nastaClzq
in
956
(1549). Arifi's work is illustrated with three
miniatures
in forest (fols. 18b-19a) and the sechunting
scene in the
ondjinns
and peris in the forest (fols. 26b-27a) (fig. 14).
the Safavid court style. The miniatures and
illuminations
unusualcity
style of
of these paintings can also be seen in
suggest that the book was produced in theThe
capital
Qazvin, but a note at the end (fol. 26a) of the
thepainting
otherdepicting
man- a young man presenting the manuscript toAnsari's
a wise scholar which replaces the illuminated
uscript consisting of a section from CAbdullah
headpiece
on the
first page of text (fol. 19b).
treatise records that Hajji Hasan 'Ali inscribed
this
copy
The othersultan-i
manuscript inscribed by Hasan CAli Katib at
at the shrine of Husayn in Karbala (mashhad-i
Karbala,with
whichonly
is now in the Topkapi Palace Library (H.
Karbala). He wrote it in a large nastaclzq script
281),
consists
of
the first section of Ansari's treatise.52 At
seven lines to a page. Mounts of dark-blue paper surround the text outside the ruled borders, and these are
24.4 x 16 cm., this manuscript is 1.8cm. wider than the
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142
called Khurasan style in technique, the use of polychrome colors creates a very different impression. In
choice of color and the form of some of the plants and
rocks, they resemble the miniature by CAbdullah Shirazi
in the Topkapi Palace copy of the $ifat al-cashzqzn depict-
Ottoman Empire, in order to escape the political upheavals in Khurasan and to visit the holy shrines. Alternatively, one of his students may have accompanied Hasan
CAli Katib. Although no mention is made of Hasan CAli's
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143
Fig. 16. Hunting scene. Munajat of CAbdullah Ansari. Karbala, ca. 1590. Topkapi Palace Library, H
headpieces
in this
manuscript represent rare examp
The final category of manuscripts are
illustrated
acof the Ottoman arts of the book executed in the prov
workshops
in Istanbul. The second copy of the Nuyrat
served with the Ottoman commanders during the
eastnama
at the Topkapi Palace Museum Library (H. 13
ern campaigns. One of these was Gelibolulu Mustafa
CAli
(d. 1600), a scholar, historian, and statesman, who
has
began
fifty-six miniatures, ornate floral marginal decor
tion, and an embroidered satin binding. It was produc
his career as secretary to the eastern-front commanders
at the palace workshops in Istanbul for Sultan Murad
and who subsequently served as financial officer (defterin 1584.59
dar) in Aleppo, Baghdad, and Egypt.55 During
these
Another
years he wrote books on history and literature, as well
as historian who recorded Ottoman-Safavid
relations
in the second half of the sixteenth centur
biographies. b His NuSratnama about the Georgian
camMehmed Pasha, whose cognomen was Asafi.
paign of Lala Mustafa Pasha, for whom he servedDal
as adalso a poet and clerk of the Council of St
ministrative assistant, was written in Aleppo in was
1581.57
There are two illustrated copies of this book: one,served
now in as secretary to Lala Mustafa Pasha, a post w
took him
to Shirvan, and subsequently served Mu
the British Library (Add. 22011),58 is dated Wednesday
at
Pasha's
the beginning (yavm al-arba'a ava'il) of the month
of successor Ozdemiroglu Osman Pasha as
tary
and administrative assistant. While with
Rabi II 990 (25 April-4 May 1582). Apart from one
miniPasha in Shamakhi he was sent to the fortress of Kabale,
ature the double-page illustrations and illuminated
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144
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145
Karatay,
Farsfa Yazmalar, no. 756; Zeren Tan
were included among the gifts presented by 3.
a Safavid
envoy
1984), p. 12
during the circumcision festival of Sultan Murad (Istanbul,
III's sons; see
Another
illustrated copy of Asar-i Muzaffar,
Orhan $aik G6kyay, "Bir Saltanat Diiuginfi,"4.Topkapi
Sarayi
Miizesi Yzlzk 1 (1986): 31-35.
(12January 1567), is at the Chester Beatty Lib
235);
see
AJ.
2. An interesting group of manuscripts, which found
their
way
to Arberry, B.W. Robinson, E. Bloch
Chester
Beatty Library: A Catalogue of
the palace treasury, seem to have been owned atson,
one The
time
by
scripts
and
Sinan Pasha (d. 1596), an Ottoman statesman who
played
an Miniatures 3 (Dublin, 1962): 13-15.
ferred
to as Nizam in the introduction of the Dublin
important role in Ottoman-Safavid relations (see
$erafettin
Turan, "Sinan Pasa," Islam Ansiklopedisi 10 [1966]:
manuscript.
670-75). He
He says that he made it in 922 (1519)
thor's
name and the date do not appear in the Topk
was governor-general of Damascus and Egypt in
the 1560's,
and field marshal (serdar) of Yemen in 1568, of Tunisia
in 1574,
manuscript
copied one year later than the Dublin man
inthe
1568.
It is of
understood from the catalogue that the p
and of the eastern campaigns in 1577-82. During
reign
Husayn
Baiqara in the introduction to the Topka
Murad III he was appointed to the post of grand vizier
(vezir-i
azam) several times. An illustrated copy of the Shahnama
manuscript
of Firis not included in the Dublin manuscript.
5. flyleaf,
Ghulam which
Sarwar, History of Shah Ismail Safawi (Alig
dawsi in the palace collection has a note on its
reads Vezir-i azam Sinan Pasadan gelen kitaptzr sene
pp. 999
60, 64,
("This
86, 91-92; Roger Savory, "Some Notes on
(1578-79):
see Mehdi Bayani, Specimens of Fine Writing f
yonundaki Sultani Bir Ozbek $ahnamesi ve Ozbek
Resim
One of the books he is said to have owned dates from the mid-
two examples of the Shahnama of Firdawsi (H. 1481: see Kar8. For Muhammadi and the Khurasani style, see Barbara
atay, Farsfa Yazmalar, no. 354; Gfner Inal, "$ah Ismail Devrin- Schmitz, "Miniature Painting in Herat 1570-1640," Ph.D. diss.,
den Bir $ahname ve Sonraki Etkileri," Sanat Tarihi Yzllzgi 5New York University, 1981, pp. 92-110; Basil W. Robinson,
[1972-73]: 511, fig. 25); H. 1505: see Karatay, Farsfa Yazmalar,"Muhammadi and the Khurasan Style," Iran 30 (1992): 17-29,
no. 375); one Kulliyat-i Sacdi (R. 924: see Karatay, Farsfa Yaz-pls. 4-11.
malar, no. 539); one of Qazvini's CAjadib al-Makhluqat (H. 403:
9. Basil W. Robinson, Jean Pozzi: L'Orient d'un collectionneur
see Karatay, Farsfa Yazmalar, no. 197); two examples of the (Geneva, 1992), no. 131; Robinson, "Muhammadi," p. 26, K. 5,
Khamsa of Nizami (H. 780: see Karatay, Farsfa Yazmalar, no.pl. VIIIb.
455; Ivan Stchoukine, Les peintures des manuscrits de la "Khamse"
10. This album is the product of the same workshop as Asar-i
de Nizami au Topkapi Sarayz Miizesi d'Istanbul [Paris, 1977], p. Muzaffar. It includes calligraphy signed by Muhyi al-Katib al-
129, no. XLIX; H. 749: see Karatay, Farsfa Yazmalar, no. 471;Haravi (fol. 88b), Muhyi (fols. 3a, 26a, 40b, 78a, 89b, 90b; the
Stchoukine, Les peintures des manuscrits de la "Khamse" pp.latest dated is 988 [1580-81], Ahmad al-Husayni al-Mashhadi
140-42, no. LVII), and one Mihr u Mushtari (R. 1026: see Kar-(fols. 21b, 30b), Yari al-Katib (fols. 3a, lOb dated 982
atay, Farsfa Yazmalar, no. 623). When he was the commander[1574-75], 16b, 22b, dated 980 [1572-73], 35a, 89a). The minof the eastern front he probably bought these books or iatures are also in the Khurasan style. Among them are the
received them as gifts. In the Topkapi Palace Library, there are works of two artists who painted illustrations for Asar-i
some illustrated manuscripts that belonged to two other Otto- Muzaffar (fols. 4a, 96a). In addition, there are miniatures
man bureaucrats, also working on the border between thesigned by Bahram Qulu (fols. 94b, 95b) and Muhammad IsfaOttoman Empire and Iran. One of them was the governor- hani (fol. 20a). The margins are decorated with very colorful
general of Gence Davud Pasha; see Bekir Kiutikoglu, Osmanlz-human and animal figures and branches, leaves, and flowers.
Iran Siyasi Miinasebetleri (1587-1612) (Istanbul, 1993), p. 236;The margins of Jami's two masnavzs at the Chester Beatty
the other was the governor-general of Erzurum Saatcl HasanLibrary in Dublin are also decorated in the same style (The
Pasha; see Kfitfikoglu, Osmanlz-Iran, pp. 211, 264, 265, 270;Chester Beatty Library: A Catalogue of the Persian Manuscripts and
Cornell H. Fleischer, Bureaucrat and Intellectual in the OttomanMiniatures, vol. 2, nos. 209, 210).
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146
22. For
by Muhammad Husayn al-Husayni in Qazvin in Muharram
982the scribe, see Qadi Ahmad, Calligraphers and Painters, p.
170.
(23 April-22 May 1574); Stchoukine, Lespeintures des manuscrits
23. For CAbdullah Shirazi and his works, see Qadi Ahmad, Calligde la "Khamsa, "p. 144, no. LX.
raphers and Painters, pp. 189-90; Eskender Munshi, History of
12. Illustrated manuscripts were also produced in the Khurasan
Shah Abbas, p. 274; Barbara Schmitz, "Miniature Painting in
region such as Belh, Sabzavar, and Tun between 1564 and 1586
Muharram 982 (23 April-22 May 1574) (R. 1038, Karatay, pp. 229-31.
Farsfa Yazmalar, no. 787; Filiz (agman and Zeren Tanindi, Top24. B. W. Robinson, "Persian and Pre-Mughal Indian Painting,"
kapz Palace Museum: Islamic Miniature Painting [Istanbul, 1979], The Keir Collection: Islamic Painting and the Art of the Book (Lonno. 105; M. Shreve Simpson, "The Making of Manuscripts and don, 1976), no. III. 232, pl. 24.
25. M. Shreve Simpson, "Shaykh Muhammad," in Persian Masters:
the Workings of the Kitab-khana in Safavid Iran," " The Artist's
Workshop. Studies in the History of Art 38, Center for Ad- Five Centuries of Painting, ed. Sheila R. Canby (Bombay, 1990),
vanced Study in the Visual Arts, Symposium Papers XXII pp. 99-112; Soudavar, Art of the Persian Courts, pp. 232-36;
[Washington, D.C.: National Gallery of Art, 1993], pp. 115-16); Simpson, "Making of Manuscripts," pp. 115-16, n. 71.
the Divan of Hafiz in Tun (H. 986, see above n. 16) and a
26. Soudavar, Art of the Persian Courts, pp. 229-31. This frontispiece
belongs to the manuscript of Hilali's Sifat al-'ashiqin, made for
Khamsa of Khusraw Dihlavi were copied in Bakharz on the first
a certain Salim al-Anami Isfahani, and copied by Muzaffer
(ghurra) of the month of Muharram 934 (27 September 1527)
Husayn al-Sharif al-Husayni in 990 (1582).
(H. 797, fol. 167a); see Karatay, Farsfa Yazmalar, no. 598. Although the illuminations of the last work are original, the min-27. This colophon also records that the work was copied by
Muhammad al-Katib Reze. The scribe's name is immediately
iatures are not. For other illustrated manuscripts prepared in
1581) (Karatay, Farsfa Yazmalar, no. 776; see Alpaslan, "'Abdullah-i $irazi," pp. 136-37). Four of the seven miniatures are por-
25-28.
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147
33. Faruk
Sfimer,
Safevi Devletinin Kurulusu ve Gelismesinde Anadolu
144, no. LX; p. 129, no. XLIX); Naqsh-i badi (R. 1038;
see
above,
Rolii (Ankara, 1992), pp. 193-94.
n. 10) Jami's Haft Awrang (H. 1483, Karatay, FarsfaTiirkleri'nin
Yazmalar,
138).
30. Faruk Siumer, "Anadolu'da Mogollar," Sel4uklu Arastzrmalan
Dergisi 1(1969): 81-90.
31. One of the illuminations of H. 1653 is published. SeeJahn, Die
Chinageschichte, pl. 1 (H. 1653, fol. 391b).
32. Karatay, Farsfa Yazmalar, no. 940; Ates, Cami al-Tavarih, pp.
Israels des Rasid ad-Din (Vienna, 1973), pp. 21-101, pls. 1-46;
Jahn, Die Geschichte der Oguzen, pp. 11-13, pl. 2, 4, 6, 8,13,16,18,
21, 23, 24; idem, Die Chinageschichte, p. 13, pl. 3; Basil Gray,
"History of Miniature Painting, The Fourteenth Century," The
Arts of the Book in Central Asia, ed. B. Gray (Paris and London,
Palace Museum," Timurid Art and Culture: Iran and Central Asia
in theFifteenth Century (Leiden, 1992), pp. 106-16.
46. Evliya Celebi tells us that the Ottomans, in the time of Sultan
Zillioglu, Evliya Celebi, Seyahatnamesi 7, trans. Zuhuri Danilman (Istanbul, 1971), pp. 73-74.
47. Qadi Ahmad, Calligraphers and Painters, pp. 138-40; Mustafa
Ali, Mendkib- Hiinerverdn, p. 51.
48. Schmitz, "Miniature Painting in Herat," pp. 1-13; Roger N. Savory, "Ali-Qoli Khan Samlu," Encyclopedia Iranica 1 (1982):
875-76.
49. Schmitz, "Miniature Painting in Herat," pp. 92-100; Robinson, "Muhammadi and the Khurasan Style," p. 20, pl. IVc. For
the paintings of the Shah CAbbas period in album H. 2155, see
Cagman and Tanindl, Topkapz Palace, no. 107-9; idem, Topkapz
Saray, no. 123.
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