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拍品專文
Nur-al-Din ‘Abd al-Rahman Jami (1414-1492) was the most renowned poet of the Timurid Empire, receiving appreciation and payment for his works from Istanbul to India, where his many preserved manuscripts show his continuing popularity. Indian Sufis wrote his biographies and translated his works (Paul E. Losensky, ‘JĀMI i. Life and Works’ and Hamid Algar, ‘JĀMI ii and Sufism,’ Encyclopaedia Iranica). His Baharestan (‘Spring Garden’) was illustrated in one of the finest Mughal manuscripts, made in Emperor Akbar’s (r. 1556-1605) atelier at Lahore in 1595 (Sheila S. Blair and Jonathan M. Bloom, The Art and Architecture of Islam, 1250–1800; Bodleian Library, Oxford, MS.Elliot 254). For a Jami quatrain in a 16th century Deccan painting, see lot 31.
Following the increased interest in portraiture in Akbar’s court in the 1590s, figures, particularly Emperors, began being depicted in full profile (J. P. Losty, A Prince’s Eye: Indian Mughal Paintings from a Princely Collection, London, 2013, p.8). The portrait here, of Jami, is the only known pre-modern portrait of the poet. An album leaf of the same size as ours, and with contemporaneous Akbari portraits and similar naturalistic hazelnut branches was recently with Francesca Galloway. That border was attributed by J.P. Losty to Muhammad Baqir (fl.ca.1735-90) (op.cit., pp.4-9, cat.1C-D). The album from which that came was probably seized from Delhi by Nadir Shah (r. 1736-47) in 1739 and assembled around the same time as the famous St Petersburg Album, the borders of which Muhammad Baqir and Muhammad Sadiq (fl.ca.1750-1800) decorated.
A contemporaneous study of a rose by Baqir from the Collection of Prince and Princess Sadruddin Aga Khan was sold in these Rooms, 28 October 2025, lot 88.
Following the increased interest in portraiture in Akbar’s court in the 1590s, figures, particularly Emperors, began being depicted in full profile (J. P. Losty, A Prince’s Eye: Indian Mughal Paintings from a Princely Collection, London, 2013, p.8). The portrait here, of Jami, is the only known pre-modern portrait of the poet. An album leaf of the same size as ours, and with contemporaneous Akbari portraits and similar naturalistic hazelnut branches was recently with Francesca Galloway. That border was attributed by J.P. Losty to Muhammad Baqir (fl.ca.1735-90) (op.cit., pp.4-9, cat.1C-D). The album from which that came was probably seized from Delhi by Nadir Shah (r. 1736-47) in 1739 and assembled around the same time as the famous St Petersburg Album, the borders of which Muhammad Baqir and Muhammad Sadiq (fl.ca.1750-1800) decorated.
A contemporaneous study of a rose by Baqir from the Collection of Prince and Princess Sadruddin Aga Khan was sold in these Rooms, 28 October 2025, lot 88.