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拍品专文
INSCRIPTIONS:
harrarahu al-‘abd shah mahmud al-nisaburi fi shahr ramadan al-mubarak sana 971
This calligraphy that forms the centre of this folio is unusual in that it contains verses of the Qur’an, surat al-fatiha, copied in nasta’liq which is a style of calligraphy usually associated with secular texts. Under the reign of Shah Tahmasp (1524-76), nasta’liq began to replace naskh as the natural script for copying Persian anthologies, epics and other literary works. According to the classical tradition however, it was the six cursive scripts that were those reserved for copying Qur’ans – thuluth, naskh, muhaqqaq, rayhani, riqa’ and tawqi. Nasta’liq is a script designed for writing Persian and so to find an Arabic text, such as the Qur’an, in the script, is very rare. Qur’anic verses in nasta’liq represent a remarkable and unusual counterpoint between the new and fashionable calligraphic style and a religious manuscript. A complete Safavid Qur’an copied in nasta’liq was sold in these Rooms, 8 April 2008, lot 200.
Shah Mahmud al-Nishapuri, also known as Zarin Qalam (‘Golden Pen’), lived and worked in Tabriz for most of his life. He was already very prominent in the reign of Shah Isma’il and subsequently worked as a royal calligrapher to Shah Tahmasp (d.1574). He was without a doubt one of the greatest calligraphers of his time, renowned for his ‘perfect nasta’liq’. When the Shah lost interest in the Arts, Shah Mahmud moved to Mashhad and worked there under the patronage of Ibrahim Mirza (d.1577) until he died (Norah M. Titley, Persian Miniature Painting and its Influence on the Art of Turkey and India, London, 1983, pp.84, 103, 105, fig.81; and A.J. Arberry (ed.), The Chester Beatty Library. A Catalogue of the Persian Manuscripts and Miniatures, Vol. II, no.179). For further information also see Mehdi Bayani, Ahval va Asar-e Khosh-Nevisan, Vol. I, Tehran, 1345 sh, pp.295-304, Vol.II 1346, pp.305-7 and V. Minorsky, Calligraphers and Painters, 1959, pp.134-7. His recorded work is dated between AH 923-982/1517-75 AD.
harrarahu al-‘abd shah mahmud al-nisaburi fi shahr ramadan al-mubarak sana 971
This calligraphy that forms the centre of this folio is unusual in that it contains verses of the Qur’an, surat al-fatiha, copied in nasta’liq which is a style of calligraphy usually associated with secular texts. Under the reign of Shah Tahmasp (1524-76), nasta’liq began to replace naskh as the natural script for copying Persian anthologies, epics and other literary works. According to the classical tradition however, it was the six cursive scripts that were those reserved for copying Qur’ans – thuluth, naskh, muhaqqaq, rayhani, riqa’ and tawqi. Nasta’liq is a script designed for writing Persian and so to find an Arabic text, such as the Qur’an, in the script, is very rare. Qur’anic verses in nasta’liq represent a remarkable and unusual counterpoint between the new and fashionable calligraphic style and a religious manuscript. A complete Safavid Qur’an copied in nasta’liq was sold in these Rooms, 8 April 2008, lot 200.
Shah Mahmud al-Nishapuri, also known as Zarin Qalam (‘Golden Pen’), lived and worked in Tabriz for most of his life. He was already very prominent in the reign of Shah Isma’il and subsequently worked as a royal calligrapher to Shah Tahmasp (d.1574). He was without a doubt one of the greatest calligraphers of his time, renowned for his ‘perfect nasta’liq’. When the Shah lost interest in the Arts, Shah Mahmud moved to Mashhad and worked there under the patronage of Ibrahim Mirza (d.1577) until he died (Norah M. Titley, Persian Miniature Painting and its Influence on the Art of Turkey and India, London, 1983, pp.84, 103, 105, fig.81; and A.J. Arberry (ed.), The Chester Beatty Library. A Catalogue of the Persian Manuscripts and Miniatures, Vol. II, no.179). For further information also see Mehdi Bayani, Ahval va Asar-e Khosh-Nevisan, Vol. I, Tehran, 1345 sh, pp.295-304, Vol.II 1346, pp.305-7 and V. Minorsky, Calligraphers and Painters, 1959, pp.134-7. His recorded work is dated between AH 923-982/1517-75 AD.