.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This Shahnama epitomises the exchange of artistic production in 17th century provincial Isfahan. With its 35 full page illustrations, it exemplifies the local artists continuous use and admiration of the works of the great masters of the time, such as Reza ‘Abbasi (ca.1565–1635). Their influence is evident in the depiction of the figures with their slightly curved elongated bodies and large heavily folded turbans which are typical of the Shah Abbas period, always depicted at a slight slanted angle. The rich use of the colours, particularly pink, purple, orange and shades of blue on the rock information and gowns is also a feature that closely relates to works produced by Reza and his school from the same period.
From close inspection of the facial features of the figures, it is evident that the work was completed by a group of artists rather than a single one, which was typical of the period. Although the treatment of the lines and shadows of the topographical and facial features resemble those of the Isfahan school of painting, they are done in a somewhat provincial style. The rich opening double page illumination of the manuscript resembles those of the late 16th century Shirazi school, along with some of the depictions of the architecture and use of floral patterned carpets and walls. These were traits that were shared between schools of Shiraz and Isfahan throughout the 17th century, particularly, in the more provincial centres of manuscript production. Four paintings within the manuscript are later in style and are clearly from a different Safavid school which has many Mughal inspirations. These are evident on the depiction of the trees and heavy shading of the features. For a superb example of a work produced by Reza ‘Abbasi’s school, illustrating similar figures and palettes sold at auction see, Christie’s, London, 10 October 2013, lot 29.
This Shahnama bears a note by R.M. Binning on one of the fly-leaves, providing us with his thoughts and a description of this copy along with his purchase date in Tehran. The opening headpiece also bears a Persian seal impression of Robert Binning’s name in nasta’liq in the centre, along with his signature and ‘Madras’ inscribed on the border of the same folio. Robert Binning served in the East India Company in Madras as the company’s administrator. He was a passionate linguist in Hindi, Persian and Arabic. As a result of his extensive travels with the East Indian company he managed to create an impressive and significant collection of Islamic manuscripts, many of which were donated and sold later on. A major part of Binning’s collection is now in the Edinburgh University Library. He published a grammar of modern Arabic in 1849 and an account of his travels in Persia and Ceylon in 1857. For a dictionary composed by him sold at auction see, Bonhams, London, 4 December 2012, lot 1167.
From close inspection of the facial features of the figures, it is evident that the work was completed by a group of artists rather than a single one, which was typical of the period. Although the treatment of the lines and shadows of the topographical and facial features resemble those of the Isfahan school of painting, they are done in a somewhat provincial style. The rich opening double page illumination of the manuscript resembles those of the late 16th century Shirazi school, along with some of the depictions of the architecture and use of floral patterned carpets and walls. These were traits that were shared between schools of Shiraz and Isfahan throughout the 17th century, particularly, in the more provincial centres of manuscript production. Four paintings within the manuscript are later in style and are clearly from a different Safavid school which has many Mughal inspirations. These are evident on the depiction of the trees and heavy shading of the features. For a superb example of a work produced by Reza ‘Abbasi’s school, illustrating similar figures and palettes sold at auction see, Christie’s, London, 10 October 2013, lot 29.
This Shahnama bears a note by R.M. Binning on one of the fly-leaves, providing us with his thoughts and a description of this copy along with his purchase date in Tehran. The opening headpiece also bears a Persian seal impression of Robert Binning’s name in nasta’liq in the centre, along with his signature and ‘Madras’ inscribed on the border of the same folio. Robert Binning served in the East India Company in Madras as the company’s administrator. He was a passionate linguist in Hindi, Persian and Arabic. As a result of his extensive travels with the East Indian company he managed to create an impressive and significant collection of Islamic manuscripts, many of which were donated and sold later on. A major part of Binning’s collection is now in the Edinburgh University Library. He published a grammar of modern Arabic in 1849 and an account of his travels in Persia and Ceylon in 1857. For a dictionary composed by him sold at auction see, Bonhams, London, 4 December 2012, lot 1167.