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拍品 64THE PROPERTY OF A LADY
The paintings in the following five lots come from a richly illustrated Shahnama produced in Safavid Shiraz. After the Safavids established their capital at Tabriz, Shiraz was reduced from a major court to a minor provincial capital in which many magnificent illustrated manuscripts were being produced by local artists in the unique Shirazi school style. This style is in fact a hybrid, making much use of local tradition, but also assimilating elements of many other Persian schools. It is characterised by a tendency to divide the illumination into geometrically defined sections, through the use of complex architectural forms painted in bright colours. In the scenes depicted in our folios, there is a strong element of narrative, one might almost say of genre; there is an enormous proliferation of pictorial details, some of them not even mentioned in the text; miniatures were now used not simply to illustrate a story, but to tell one. It is evident that these illustrations were executed by a group of highly talented court artists active in the Safavid court.
A Khamsa of Nizami in the Freer Gallery of Art, Washington, signed by the calligrapher Murshid al-Shirazi, and dated AH 955/1548 AD bears extremely close resemblance to our manuscript folios in terms of the style of the figures, colour palettes, costumes, the layout of the scenes and patterns used in the interior and exterior architecture (inv. no. F1908.269). Another folio from the Khamsa in the Gulistan Palace Library also features figures with extremely close features to our folios (Masterpieces of Persian Painting, 2005, p.160).
The paintings in the following five lots come from a richly illustrated Shahnama produced in Safavid Shiraz. After the Safavids established their capital at Tabriz, Shiraz was reduced from a major court to a minor provincial capital in which many magnificent illustrated manuscripts were being produced by local artists in the unique Shirazi school style. This style is in fact a hybrid, making much use of local tradition, but also assimilating elements of many other Persian schools. It is characterised by a tendency to divide the illumination into geometrically defined sections, through the use of complex architectural forms painted in bright colours. In the scenes depicted in our folios, there is a strong element of narrative, one might almost say of genre; there is an enormous proliferation of pictorial details, some of them not even mentioned in the text; miniatures were now used not simply to illustrate a story, but to tell one. It is evident that these illustrations were executed by a group of highly talented court artists active in the Safavid court.
A Khamsa of Nizami in the Freer Gallery of Art, Washington, signed by the calligrapher Murshid al-Shirazi, and dated AH 955/1548 AD bears extremely close resemblance to our manuscript folios in terms of the style of the figures, colour palettes, costumes, the layout of the scenes and patterns used in the interior and exterior architecture (inv. no. F1908.269). Another folio from the Khamsa in the Gulistan Palace Library also features figures with extremely close features to our folios (Masterpieces of Persian Painting, 2005, p.160).
TWO PAINTINGS FROM A MANUSCRIPT OF THE SHAHNAMA
SAFAVID SHIRAZ, FIRST HALF OF 16TH CENTURY
已结束2018年4月26日
成交价
GBP 7,500
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专家说明
The subjects of the paintings are as follows:
Rustam kills the White Div
Afrasiyab’s army is ferried across the Jihun (Oxus) river
Rustam kills the White Div
Afrasiyab’s army is ferried across the Jihun (Oxus) river