c. 1550-1600
The manuscript opens with an exquisitely illuminated sarlawh above the text which is copied in two columns and 14 lines to a page in nasta`liq. According to the colophon the manuscript was copied by Mir Sayyid Ahmad al-Husayni who, based on a note on the first folio, was a pupil of Mir ‘Ali (Haravi). The text area is finely gold speckled. The binding is decorated with large plate stamped and gilt leather covers, and the doublures are decorated with filigrees over various colored paper ground; however, most filigrees have been damaged over time.
22.5 × 15 cm (8 7/8 × 5 7/8 in.)
Ezzat-Malek Soudavar, Geneva, Switzerland (by 2014), by descent; to her son Abolala Soudavar, Houston, Texas (2014), loan; to Harvard Art Museums, 2015. Note: Ezzat-Malek Soudavar (1913-2014) formed this collection over a period of sixty years. She purchased the works of art on the international art market.
Opaque watercolor on paper
16th centuryIndianInk, opaque watercolor, and gold on paper; Mughal Style
16th centuryIndianInk, opaque watercolor and gold on paper
16th centuryPersianInk, opaque watercolor and gold on paper
16th centuryPersianInk, colors, and gold on paper
16th centuryPersianInk, opaque watercolor and gold on paper
16th centuryIndianThe thirty-first of a series of 54 backing sheets mounted in an album; ink and color on paper
16th centuryJapaneseInk, opaque watercolor and gold on paper
16th centuryPersianInk, colors, and gold on paper
16th centuryPersianInk, opaque watercolor and gold on paper
16th centuryOttomanThe fourteenth of a series of 54 backing sheets mounted in an album; ink and color on paper
16th centuryJapaneseInk, opaque watercolor and gold on paper
16th centuryPersian