.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This manuscript is an illustrated copy of the well-known poem recounting the platonic love story between Mihr (the Sun), the son of Shahpur, and his vizier's son Mushtari (Jupiter). Composed by Muhammad ibn Ahmad 'Assar Tabrizi, who passed away around 1382, the story spans 90 chapters. The present copy, dated to 1490, was likely created in Shiraz under the Aq Qoyunlu Turkmen rule. It is remarkable for its small, gem-like size and is illustrated with ten exquisite paintings.
The paintings in this manuscript display many features associated with classic Aq Qoyunlu painting, albeit on a smaller scale. Characteristic of this style are bold, stylised figures with exaggerated features, particularly large almond-shaped eyes, and a vivid colour palette dominated by rich blues, reds, and golds. The style also incorporates intricate architectural and ornamental backgrounds, reflecting the grandeur of the period, with flat perspectives and decorative compositions. Influenced by Timurid and early Persian traditions, Aq Qoyunlu paintings often depict courtly life and royal figures, as seen in several illustrations in this manuscript. In some folios, the figures almost explode beyond the margins, radiating an immediate vigour.
The style of the paintings in this manuscript closely resembles those of the Khavarnama (Book of the East), with similar treatments of rock formations, facial features, colour schemes, and the use of vegetation and architectural elements. Several folios from the Khavarnama are housed in the Metropolitan Museum of Art (inv.nos.55.125.2-3 and 55.184.1-2), which, though much larger in size, was created only a few years earlier than this manuscript. Another folio from that manuscript was sold in these rooms on 26 October 2017, lot 189. Two further Turkman copies of Mihr o Mushtari include one in the Walters Art Museum (acc.no.W.627) and one in the National Museum of Asian Art, Washington D.C. (acc.no.F1949.3). These similarities further highlight the stylistic connections between the these manuscripts, underscoring the visual cohesion of the Aq Qoyunlu artistic tradition.
On the last page of this manuscript there are seal impressions belonging to the Ottoman prince Şehzade Mehmed bin Şehinşah bin Bayezid and another belonging to Sultan Selim I. In the 20th century, this manuscript belonged to Paul Graupe, a renowned German bookseller, antiquarian, and collector, who passed away in 1953. Based in Berlin, Graupe was highly regarded for his expertise in rare manuscripts. His gallery was a prominent hub for scholars and collectors, and his collection remains an important part of the bibliophilic legacy.
The paintings in the manuscript include:
1. Mihr and Mushtari have blood taken from their arms
2. Kayvan gives orders for the wedding of Nahid and Mihr
3. Mihr in the bathhouse
4. Mihr and his companions in the sea of Oman
5. Mushtari and his companions are rescued from the sea
6. Mushtari and Badr arrive at the castle of the highwaymen
7. Mushtari and Badr await execution before Shapur
8. Mushtari and Badr brought before Shapur after Bahram has shown Shapur Mushtari’s letter
9. Badr brings Mushtari’s letter to Mihr
10. Shapur and his vizier pay their respects to a hermit
The paintings in this manuscript display many features associated with classic Aq Qoyunlu painting, albeit on a smaller scale. Characteristic of this style are bold, stylised figures with exaggerated features, particularly large almond-shaped eyes, and a vivid colour palette dominated by rich blues, reds, and golds. The style also incorporates intricate architectural and ornamental backgrounds, reflecting the grandeur of the period, with flat perspectives and decorative compositions. Influenced by Timurid and early Persian traditions, Aq Qoyunlu paintings often depict courtly life and royal figures, as seen in several illustrations in this manuscript. In some folios, the figures almost explode beyond the margins, radiating an immediate vigour.
The style of the paintings in this manuscript closely resembles those of the Khavarnama (Book of the East), with similar treatments of rock formations, facial features, colour schemes, and the use of vegetation and architectural elements. Several folios from the Khavarnama are housed in the Metropolitan Museum of Art (inv.nos.55.125.2-3 and 55.184.1-2), which, though much larger in size, was created only a few years earlier than this manuscript. Another folio from that manuscript was sold in these rooms on 26 October 2017, lot 189. Two further Turkman copies of Mihr o Mushtari include one in the Walters Art Museum (acc.no.W.627) and one in the National Museum of Asian Art, Washington D.C. (acc.no.F1949.3). These similarities further highlight the stylistic connections between the these manuscripts, underscoring the visual cohesion of the Aq Qoyunlu artistic tradition.
On the last page of this manuscript there are seal impressions belonging to the Ottoman prince Şehzade Mehmed bin Şehinşah bin Bayezid and another belonging to Sultan Selim I. In the 20th century, this manuscript belonged to Paul Graupe, a renowned German bookseller, antiquarian, and collector, who passed away in 1953. Based in Berlin, Graupe was highly regarded for his expertise in rare manuscripts. His gallery was a prominent hub for scholars and collectors, and his collection remains an important part of the bibliophilic legacy.
The paintings in the manuscript include:
1. Mihr and Mushtari have blood taken from their arms
2. Kayvan gives orders for the wedding of Nahid and Mihr
3. Mihr in the bathhouse
4. Mihr and his companions in the sea of Oman
5. Mushtari and his companions are rescued from the sea
6. Mushtari and Badr arrive at the castle of the highwaymen
7. Mushtari and Badr await execution before Shapur
8. Mushtari and Badr brought before Shapur after Bahram has shown Shapur Mushtari’s letter
9. Badr brings Mushtari’s letter to Mihr
10. Shapur and his vizier pay their respects to a hermit