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拍品專文
Ahmad Nayrizi (fl. 1682-1722 AD) was born in the town of Nayriz in Fars. His primary master in naskh was Muhammad Ibrahim ibn Muhammad Nasir Qumi, known as Aqa Ibrahim Qumi (fl. 1659-1707 AD). In the late 17th century Nayrizi settled in Isfahan and came to the attention of Shah Sultan Husayn (r. 1694-1722 AD) who became an important patron and by whom Nayrizi was given the honorific surname Sultani. He produced work for royal patrons for almost two decades.
Combining strength with elegance, Nayrizi's hand, as described by Raby, is 'a confident one, characterized by exceptionally well-formed letters. Its most striking features are its relatively large size and the wide spacing of the lines of text' (Nabil Safwat, The Art of the Pen, The Nasser D. Collection of Islamic Art, London, 1996, p. 212). It is with Ahmad Nayrizi that we find the development of a distinctly Iranian naskh, that went on to be used as the standard Qur'anic hand throughout the 19th century. A prayer book copied by Nayrizi is in the collection of the Metropolitan Museum in New York, (inv. 2003.239, illustrated in: Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art, New York, 2011, no. 191, pp. 272-274).
Combining strength with elegance, Nayrizi's hand, as described by Raby, is 'a confident one, characterized by exceptionally well-formed letters. Its most striking features are its relatively large size and the wide spacing of the lines of text' (Nabil Safwat, The Art of the Pen, The Nasser D. Collection of Islamic Art, London, 1996, p. 212). It is with Ahmad Nayrizi that we find the development of a distinctly Iranian naskh, that went on to be used as the standard Qur'anic hand throughout the 19th century. A prayer book copied by Nayrizi is in the collection of the Metropolitan Museum in New York, (inv. 2003.239, illustrated in: Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art, New York, 2011, no. 191, pp. 272-274).