A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA
A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA
A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA
A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA
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A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA

PROBABLY OTTOMAN MECCA, 16TH CENTURY

细节
A RARE ILLUSTRATED POEM (QASIDA) ON THE KA'BA
PROBABLY OTTOMAN MECCA, 16TH CENTURY
Poetry, Persian manuscript on paper, 14ff., plus four flyleaves, 12ll. of black nasta'liq, arranged in two columns within black and gold rules, the opening folio with gold and polychrome illuminated headpiece, decorated with 20 illustrations depicting holy sites in Mecca, Medina and Jerusalem, including the Ka'ba and the Dome of the Rock, flyleaves with later owner's notes, areas of faint water stains throughout, in gilt stamped brown morocco
Text panel 7 x 3 5/8in. (17.7 x 9.2cm.); folio 9 3/8 x 5 3/8in. (23.7 x 13.5cm.)
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拍品专文

The illustrations in this manuscript include:

- Tomb of ‘Abdullah bin ‘Abbas and Jabal Hijaz
- The Ka’ba
- The Mas’a, the area where pilgrims run seven times between Safa and Marwa
- The mosque of Wadi Fatima and the birthplace of ‘Umar, in a palm plantation (nakhlistan)
- Tomb of Khadija and the Sharifs, and the Egyptian and Syrian piscinae
- The mausoleums of the family of the Prophet including his aunts within a walled cemetery
- Masjid Quba and the two talking trees (palms)
- Masjid al-Qiblatayn, the Tomb of Hamza, the tombs of the martyrs of the battle of Uhud, and Jabal Uhud
- Dome of the Rock and the al-Aqsa mosque
- Tomb of Ibrahim and the tomb of Musa
- The tombs of the martyrs of the Battle of Badr
- Jabal Mifrah and Masjid ‘Ali
- A page dedicated to a the location of holy waters
- Jabal Sabah

Artisans, calligraphers and artists from Persia, Turkey and India took residence in the holy cities of Mecca and Medina in order to sell their wares as souvenirs to pilgrims. According to Tim Stanley “The Haramayn, the holy cities of Mecca and Medina, were important locations of manuscript production during the four centuries of Ottoman rule over the two cities … The Haramayn were the focus for the Hajj and ‘Umra, and for the commercial activities that went with them, which included the sale of books, particularly those of a religious character. The cities also attracted mujawirun, that is settlers who wish to live and die in the proximity of the holy places, they included people engaged in the production in of fine manuscripts” (Stanley, 2003, pp.224-225).

This last two lines of this illustrated unrecorded qasidah (folio 5A) states 'tahriran fi Mecca'. The use of 'Tahriran' in these lines strongly indicates that the manuscript was either composed or written in Mecca. Stanley notes that despite the number of fine manuscripts produced in the environs of the holy cities, a strong tradition of the arts of the book did not independently develop and those who were creating the manuscripts at the Haramayn were most likely trained elsewhere (Stanley, 2003, pp.224-225). The diagrams in this manuscript were probably painted by an artist from the Ottoman Empire who incorporated the tulip in five of the illustrations.

The illustrations in this manuscript are comparable to those found in copies of Muhyi al-Din Lari’s Futuh al-Haramayn including one copied by Ghulam ‘Ali in Mecca dated AH 990/AD 1582 in the Nasser D. Khalili Collection (Rogers, 2008, pp.250-51, no.285) and another also attributed to Mecca, late 16th century in the Chester Beatty Library, Dublin (Porter (ed.), 2012, p.46, fig.21). It is possible that this qasidah and its illustrations were inspired by copies of Lari’s renowned text. As Armstrong notes “These compositions are not only informative but highly decorative … with illustrations to guide pilgrims and verses to delight them – and perhaps also as a souvenir of the journey of a lifetime” (Porter (ed.), 2012, p.46).

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