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    MAGICAL

    LETTERSCalligraphies

    fromtheIslamicworld

    EN COLLABORATION AVEC SHAWN GHASSEMI Art Passages

    CRITURES MAGIQUES Calligraphies du monde musulman

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    CRITURES MAGIQUESCalligraphies du monde musulman

    MAGICAL LETTERS

    Calligraphies from the Islamic world

    En collaboration avecShawn Ghassemi, Art Passages

    Du 9 au 30 Septembre 20145 rue des deux ponts 75 004 Paris

    Alexi

    s

    Renard

    -

    ArtIslamiq

    ue

    -

    ArtIn

    dien-

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    LES CALLIGRAPHES OTTOMANSravaillaient au sein dun atelier, le

    nakhashane.Beaucoup dateliers taientitus Istanbul, mais dautres villesomme Bursa, Iznik ou Ktahya accueil-irent des ateliers prestigieux qui rpon-daient aux commandes royales.Les principaux outils utiliss par lealligraphe sont le calame (un roseauaill) pos sur le makta, lencre danson encrier et le papier. Le kalemtrassert

    tailler la pointe du roseau. Une pairede ciseaux, une pierre brunir lor etargent et une saupoudreuse compltentette panoplie.

    Ces diffrents outils sont souvent ralissdans des matires prcieuses, livoire, leorail, largent, la corne de rhinocros,a racine dmeraude, lagate, lacierdamasquin ou incrust dor.Les calligraphes utilisaient vraisem-

    blablement un ais en bois appuy sur lesgenoux ou se servaient dun meuble bas,notamment les secrtaires qui devaientranscrire des textes officiels sous la

    dicte simultane.ls se servaient dcritoires portatives,es divit,composes dun encrier et dunong plumier pour ranger les calames.

    OTTOMAN CALLIGRAPHERS USED TOwork in an atelier, the nakhashane. Agreat number of these workshops werelocated in Istanbul, but other cities suchas Bursa, Iznik or Ktahya welcomedprestigious workshops that answeredroyal orders.The main tools used by the calligrapherare theqalam (a carved reed) lying on amakta,ink in its inkwell and paper. Thekalemtras is used to carve the edge ofthe reed. A pair of scissors, a polishingstone for gold and silver and a dredgercomplete this display.Those different tools are often elaboratedfrom precious material: ivory, coral,silver, rhinoceros horn, emerald root,agate, steel damascened with gold orsteel inlaid with gold.The calligraphers were probably usinga wooden board resting on their knees

    or a low piece of furniture, especiallythe secretaries that were supposed totranscribe official texts in simultaneousdictation.They were using portable writing case,called divit, composed of an inkwell anda long pencil box to carry the qalam.

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    IMPORTANT PANNEAU DCOR CALLIGRAPHIQUESign par latelier de Hajji Baqir Jahanmiri |Cramique dcor encuerda secaou lignenoire | Iran, Chiraz, XIXesicle, Epoque Qadjar

    IMPORTANT CALLIGRAPHIC PANELSigned by Hajji Baqir Jahanmiris workshop |Ceramic decorated in cuerda secaor black linetechnique | Iran, Shiraz, 19thcentury, Qajar period

    52,5 X 110 CM

    01LINSCRIPTION EN THULUTHCORRESPOND AU CORAN23.29 : MON SEIGNEUR, FAIS-MOI DBARQUER DANS UNLIEU BNI. TU ES LE MEILLEUR DE CEUX QUI CONDUISENT

    BON PORT . Ce panneau servait donc probablement detympan pour une porte dans un btiment religieux ou unedemeure prive luxueuse.

    Hajji Baqir Jahanmiri tait un dessinateur et crateur trsrput de carreaux lpoque Qadjar. Il a succd Mirza

    Abdol Razzogh comme chef du mouvement de lcole deChiraz.

    Pour une tude sur cet artiste et son cole, et pour un panneaude carreaux comparable, voir : Seif, H. (2014) PersianPainted Tile Work from the 18th and 19th Centuries - TheShiraz School,Stuttgart : Arnoldsche Art Publishers, p. 75.

    THE THULUTHINSCRIPTION QURAN 23.29 :MY LORD,LET ME LAND IN A BLESSED PLACE WITH BLESSINGSFROM YOU. YOU ARE THE BEST TO CAUSE PEOPLE TOLAND IN PEACE AND SAFETY. This panel was probablyused as a tympanum over a door in a religious building or aluxurious private house.

    Hajji Baqir Jahanmiri was a famous tile designer and tilemaker. He succeeded Mirza Abdol Razzogh as the l eader ofthe Shiraz tile movement.

    For a study about this artist and the Shiraz tile movement,and also for a closely related piece, see: Seif, H. (2014) Per-sian Painted Tile Work from the 18th and 19th Centuries - TheShiraz School, Stuttgart: Arnoldsche Art Publishers, p. 75.

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    PAGE DE CORAN EN CRITURECOUFIQUE ORIENTALEEncre et or sur papier | Proche-Orient, XIesicle

    EASTERN KUFIC QURAN LEAFInk and gold on paper | Near East, 11thcentury

    13,7 X 9,5 CM

    LE COUFIQUE ORIENTAL OU NOUVEAU STYLE DCRITUREde ce folio de Coran est habile bien que traditionnel. De petitetaille et avec seulement quelques mots par page, il auraitappartenu un Coran runissant trente volumes.

    Pour dautres manuscrits comparables, voir la section datedu XIesicle de la Collection Khalili (Droche, F. (1992) TheAbbasid Tradition,Londres, N 88, pp. 170-71).

    The Eastern Kufic or New Style hand of this folio from aQuran is accomplished and regular. Small and with only fewwords per page, it would have belonged to a Quran in thirtyvolumes.

    For comparable manuscripts, see a section in the Khalili Col-lection dated to the eleventh century (Droche, F. (1992) The

    Abbasid Tradition,London, N 88, pp. 170-71).

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    PAGE DE CORAN ENCRITURE COUFIQUEEncre et or sur vlin |Proche-Orient ou Afriquedu Nord, IXesicle

    QURAN LEAF IN KUFICSCRIPTInk and gold on vellum | NearEast or North Africa, 9 thcentury

    16,8 X 21 CM

    CETTE FEUILLE DE CORAN PRSENTE UNE CRITURE DEtaille moyenne, caractrise par lutilisation frquente demashq, tirement horizontal de la forme des lettres. Cette parti-cularit est en accord avec le format typiquement horizontaldes manuscrits utilisant ce type dcriture. Dautres manuscritsavec ce style dcriture, classifis comme D.IV par FranoisDroche (Droche, F. (1992)The Abbasid Tradition, Londres, pp.36-45), incluent le fameux Coran Bleu, qui est de proportionssimilaires. Une section issue du mme manuscrit a t venduechez Christies, le 19 Octobre 1993, lot 33.

    THIS QURAN LEAF IS IN A MEDIUM-SIZED HAND CHA-racterized by the frequent use of mashq, the horizontalstretching of the letter forms. This feature is consonant with thetypically horizontal format of manuscripts in this type of hand.Other manuscripts in this type of hand, classified as D.IV byFranois Droche (Droche, F. (1992) The Abbasid Tradition,London, pp. 36-45), include the famous Blue Quran, whichis of similar proportions. A section from the same manuscriptwas sold in Christies, 19thof October 1993, lot 33.

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    COUPE SAMANIDE DCOR PIGRAPHIQUETerre cuite engobe blanc crmepeint en noir sous glaure incoloretransparente | Transoxiane, IXesicle

    SAMANID DISH WITHAN EPIGRAPHIC PATTERNEarthenware with whiteslip decorated in blackunder a transparent glaze |Transoxiana, 9thcentury

    7,5 X 21,7 CM

    CE PLAT PORTE LINSCRIPTION :La gnrosit est la qualit des habitantsdu Paradis.

    THIS DISH BEARS THE INSCRIPTION:Generosity is the disposition of the dwellersof Paradise.

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    PICHET DCORPIGRAPHIQUETerre cuite engobe noir et blanc sousglaure incolore transparente | Iran,Probablement Nichapour, Xesicle

    JUG WITH ANEPIGRAPHIC PATTERNTerracotta decorated in black andwhite under a transparent glaze | Iran,Probably Nishapur, 10thcentury

    15 CM

    POUR DES LAMPES HUILE PRSENTANT UN DCORcomparable, voir : Catalogue dExposition, Institut du Monde

    Arabe (26 Juin - 27 Septembre 1992)Terres Secrtes de Samar-cande - Cramiques du VIIIeau XIIIesicle, p. 113.

    Pour deux plats prsentant un dcor en frise et une calligra-phie ornementale proches, voir : Watson, O. (2004) Ceramicsfrom Islamic lands, The Al-Sabah Collection,pp. 211-212. Unpichet comparable portant linscription : La dvotion fortifielaction est conserv au Metropolitan Museum of Art de New

    York (Inv. 1988.114.3).

    FOR A GROUP OF OIL LAMPS WITH A CLOSELY RELATEDpattern, see: Exhibition Catalogue, Institut du Monde Arabe (26thJune - 27thSeptember 1992) Terres Secrtes de Samarcande -Cramiques du VIIIeau XIIIesicle,p. 113.

    For two dishes with a closely related pattern, see: Watson,O. (2004) Ceramics from Islamic lands, The Al-Sabah Col-lection,pp. 211-212. A closely related jug is kept in the col-lection of the Metropolitan Museum of Art in New York (Inv.1988.114.3).

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    BIFOLIUM DUN CORAN EN MAGHRIBIEncre et or sur vlin | Espagne ouAfrique du Nord, circa 1250 - 1350

    BIFOLIUM FROM A MAGHRIBIQURANInk and gold on vellum | Spain orNorth Africa, circa 1250 - 1350

    BIFOLIUM: 25 X 36,5 CM

    CE BIFOLIUM EST ISSU DUN CORAN RDIG DANS UNEcriture Maghribifine et claire, comparable celle dun Corandu Museum of Turkish and Islamic Art, Istanbul (Cataloguedexposition, New York (1992)Al-Andalus : The Art of IslamicSpain, N83, p. 314). Dune manire gnrale, le format, lesdimensions et lenluminure sont typiques des Corans copis enneuf lignes en Afrique du Nord et en Espagne aux treizime etquatorzime sicles (voir : James, D. (1992) The Master Scribes :Qurans of the 11 th to 14th centuries AD, Londres, N53, pp.214-215).

    THIS BIFOLIUM IS FROM A QURAN WRITTEN IN A FINEand clear Maghribihand, comparable to that of a Quran inthe Museum of Turkish and Islamic Art, Istanbul (Exhibitioncatalogue, New York (1992) Al-Andalus: The Art of Isla micSpain,N 83, p. 314). The format, dimensions and illuminationare generally typical of Qurans copied in nine lines in NorthAfrica and Spain in the thirteenth and fourteenth centuries(see: James, D. (1992) The Master Scribes: Qurans of the 11th

    to 14th centuries AD, London, N 53, pp. 214-15).

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    ENCRIER EN ARGENT | COUPELLE MINIATUREArgent cisel et montures en cuivre rouge |Iran, Probablement Khorassan, XIVesicleBronze incrust dargent | Iran,Khorassan, XIIe - XIIIesicle

    SILVER INKWELL | MINIATURE CUPChiseled sillver with copper mounts |

    Iran, Probably Khorasan, 14thcenturyBronze inlaid with silver | Iran,Khorassan, 12th - 13thcentury

    8,2 X 5,8 CM | 2,1 X 3,2 CM

    LE FOND DE CE PETIT ENCRIER EN ARGENT EST ORN DUNEjument tte de femme reprsentant Buraq. Cette coupelleminiature porte une fine inscription incruste dargent en calli-graphie naskhqui court sur tout le bord extrieur de lobjet.

    THE BOTTOM OF THIS SILVER INKWELL IS DECORATEDwith a woman-headed mare depicting Buraq. This charmingminiature cup bears a fine naskhinscription going round thewhole body of the piece.

    07 | 08

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    BIFOLIUM DE CORANEncre et or sur papier | Anatolieou Asie Centrale, XIVesicle

    BIFOLIUM FROM A QURANInk and gold on paper | Anatoliaor Central Asia, 14 thcentury

    BIFOLIUM: 28,7 X 38 CM

    09

    CE BIFOLIUM EST ISSU DUN CORAN BIEN CONNU. ATTRIBU UN TEMPS lInde, il est maintenant considr comme ayant t ralis soit en

    Anatolie, soit en Asie Centrale. Il a t soutenu que les changements quiont eu lieu dans la production de Corans en Iran la priode Ilkhanidenont pas affect la fine et archaque criture muhaqqaq, celle-ci venantdonc plus probablement dAsie Centrale, rgion qui aurait t prserve de

    tels dveloppements (Stanley, T. (1999) The Qurans, Schorlaship and theIslamic Arts of the Book,Londres : Bermard Quaritch Ltd., p. 22). LAnatoliea dautre part t suggre, daprs les similarits avec lenluminure desCorans qui ont trs certainement t produits l-bas (James, D. (1992)The Master Scribes: Qurans of the 11 th to 14th centuries AD, Londres,N51, p. 208).

    La totalit du manuscrit possde une traduction interlinaire en persan. Lesfolios du siximejuzprsentent des marges enlumines ultrieurement,possiblement la priode Qadjar. Les feuilles issues de ce manuscrit sontconserves dans de nombreux muses et collections prives, notammentla David Collection et la Chester Beatty Library.

    THIS BIFOLIUM IS FROM A WELL-KNOWN QURAN, ONCE ATTRIBU-ted to India but now believed to have been made in either Anatolia orCentral Asia. It has been argued that the thin, archaic muhaqqaqhandappears unaffected by changes that took place in Quran production inIran in the Ilkhanid period, and is therefore likely to come from CentralAsia which would have remained isolated from such developments (Stan-

    ley, T. (1999) The Qurans, Scholarship and the Islamic Arts of the Book,London: Bernard Quaritch Ltd., p. 22). Anatolia has been suggested, onthe other hand, on account of similarities with illumination on Quransthat were almost certainly produced there (James, D. (1992) The MasterScribes: Qurans of the 11 thto 14th centuries AD, London, N 51, p. 208).

    The entire manuscript has an interlinear Persian translation. Leavesfrom the sixth juzhave illuminated borders added much later, possiblyin the Qajar period. Leaves from this manuscript are found in numerousmuseums and private collections, including the David Collection and theChester Beatty Library.

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    PARTIE DE CORANEncre, pigments et or sur papier, reliure enmaroquin estamp | Anatolie ou Levant,XVIIe - XVIIIesicle, Empire Ottoman

    PART OF A QURANInk, pigments and gold on paper, in brown

    stamped morocco binding | Anatolia or Levant,17th - 18thcentury, Ottoman Empire

    28 X 20 X 2 CM

    CE MANUSCRIT CORRESPOND LA SECTION XI (JUZ) DUNCoran, comprenant les Sourates IX, 94-129 ; X ; XI, 1-6. Lestitres des Sourates X et XI figurent dans un cartouche enlumin lencre dore. La grande calligraphie en bleu, rouge et vert ennaskhutilise pour ce manuscrit est entirement cerne dor,les parties calligraphies en or sont elles cernes de rouge.

    THIS FINE MANUSCRIPT IS COMPOSED OF SECTION XI OFQuran, including suras IX, 94-129 ; X ; XI, 1-6. The titles ofSuras X et XI are inscribed in gold outlined in red, the rest ofmanuscript is written in blue, red, and green naskhcalligraphyoutlined in gold.

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    PARTIE DE MIHRAB PORTATIFCramique siliceuse moule sousglaure turquoise | Iran, XIII esicle

    FRAGMENT OF A PORTABLE MIHRABMoulded fritware under a turquoiseglaze | Iran, 13thcentury

    28,5 CM

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    LE CENTRE EST ORN DUNE INSCRIPTION EN COUFIQUEtandis que le pourtour est inscrit en coufique du verset96 de la sourate III, La famille dImrn : En vritle premier temple qui ait t fond lintention deshommes est bien celui de la Mecque, qui est la foisune bndiction et une bonne direction pour lunivers.

    Une pierre tombale prsentant une technique proche estconserve la David Collection (Isl. 107) et publie dans : vonFolsach, K. (2001) Art from the world of Islam in the DavidCollection,Copenhagen, p. 167, Fig. 209.

    THE CENTRE BEARS AN INSCRIPTION IN KUFIC SCRIPT.Aroud the centre is written verse 96 of sura III, Imrns Family:Indeed, the first House [of worship] established for mankindwas that at Makkah - blessed and a guidance for the worlds.

    A tombstone using the same technique is kept in the collec-tion of the David Collection and published in: von Folsach, K.(2001)Art from the world of Islam in the David Collect ion,Copenhagen, p. 167, Fig. 209.

    PAGE DE CORAN EN CRITURE MUHAQQAQEncre et or sur papier | Iran,Premire Moiti du XIVesicle

    QURAN LEAF IN GOLD MUHAQQAQInk and gold on paper | Iran, Firsthalf of the 14thcentury

    28,5 X 20,5 CM

    12

    CE MAGNIFIQUE CORAN RALIS POUR LE SULTAN LJAYT Hamadan instaure la tradition des combinaisons entre textedor et accentuation bleue des Corans iraniens du quatorzimesicle (James, D. (1988) Qurans of the Mamluks, Londres,N 45). Lcriture, le format et lenluminure de cette feuillesont comparables un Coran copi par Amir Hajj ibn Ahmadal-Sayini en Iran en 1334 et plus tard emport au Ymen (voirJames, D. (1988) Qurans of the Mamluks, Londres, N27, pp.114-19).

    THE MAGNIFICENT QURAN MADE FOR SULTAN LJAYTin Hamadan set a precedent for the combination of gold text andblue vocalization in Iranian Qurans of the fourteenth century(James, D. (1988)Qurans of the Mamluks, London, N 45).The hand, format and illumination of this leaf are all compa-rable with a Quran copied by Amir Hajj ibn Ahmad al-Sayiniin Iran in 1334 and later taken to the Yemen (see James, D.(1988) Qurans of the Mamluks, London, N 27, pp . 114-19).

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    FRISE PIGRAPHIQUE

    COMPOSE DE TROIS CARREAUXCramique siliceuse dcor peint en bleu, noiret turquoise sur engobe blanc et sous glaureincolore transparente | Syrie, Damas,fin du XVIe dbut du XVIIesicle, Empire Ottoman |Anciennement dans la collection Gu errand-Herms

    A SET OF THREE DAMASCUS TILESFritware with underglaze painted decoration | Syria,Damascus, late 16th early 17thcentury, OttomanEmpire | Formerly in the Guerrand-Herms collection

    62 X 23 CM

    15CES TROIS CARREAUX FORMENT

    linscription en thuluth : l ilh illallh al-malik al-haqq al-mubin signi-fiant : Il ny a de dieu que Dieu, Le Roi,La vrit, qui fait se manifester touteschoses . Un panneau comparable detaille plus importante est conserv dansles collections du Metropolitan Museumde New York (58.90.1a-g).

    THIS SET OF THREE TILES BEARSthe inscription: l ilh ill allh al-malik al-haqq al-mubin meaning:There is no god but God, the Lord, theTruth, who makes all things manifestwritten in elongated thuluth script.Aclosely related but larger panel is keptin the collection of the MetropolitanMuseum in New York (58.90.1a-g).

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    CE RARE BASSIN FAIT PARTIE DUNgroupe de mtaux dcor calligraphique quicompte parmi les plus belles ralisations demtaux de la rgion du Deccan. Le corps dela pice, lintrieur du col ainsi que le fonddu bassin sont entirement couverts dins-criptions en criture cursive. Limportance dudcor pigraphique ainsi que le format et laforme de cet objet laissent supposer quil taitdestin un usage rituel dans un contextereligieux.

    Il illustre la relation entre la rgion du Deccanet le monde iranien. Un bassin safavide bec

    verseur de forme proche est conserv dans lescollections du Muse du Louvre (OA 3371).

    Un bassin en bronze la forme et au dcortrs proches, seul autre exemplaire connu ce

    jour de mme typologie, tai t conserv dansla collection Cary Welch disperse en 2011.Les mdaillons qui ornent la panse portentles noms de dix imams shiites. Notons qu Alial-Rada est ici appel Musa :

    Imam Ali al-Murtada, la paix soit avec Lui

    Imam Hasan al-Mujtaba, la paix soit avec Lui

    Imam Zayn al-Ibad, la paix soit avec Lui

    Imam Muhammad al-Baqir, la paix soit avec Lui

    Imam Jafar al-Sadiq, la paix soit avec Lui

    Imam Musa al-Kazim, la paix soit avec Lui

    Imam Musa (sic.) al-Rida, la paix soit avec Lui

    Imam Ali al-Taqi, la paix soit avec Lui

    Imam Ali al-Naqi, la paix soit avec Lui

    Imam Hasan al-Askari, la paix soit avec Lui

    Autour du cou est inscrite la sourate al-Ikhlasqui nest pas prcde de la traditionnelle bis-milah : Il est Allah, (qui est) Un, Allah, leRefuge Eternel. Il nest ni engendr ni n, rienne Lui est gal. (Trans. Sahih International)Cette inscription est directement suivie pardes invocations Dieu, Mahommet et Ali .

    Tout Puissant, Dieu, Mohammed, Ali !

    Sous le sommet du bec, on peut lire :

    Pas dautre paladin qu Ali, pasdautre pe que Dhul-Fiqar

    Le long des cts du bec, on trouve desextraits du Coran 12:64 :

    Mais Allah est le meilleur gardien, et il estle plus misricordieux des misricordieux.(Trans. Sahih International)

    A lintrieur autour de la base et au centrede la base, on trouve des extraits du Coran3:159 :

    Donc par la piti dAllah, ( Mahommet),tu tais indulgent avec eux. Et si tu avaist impoli (dans ton langage) et svredans ton coeur, ils se seraient spars detoi. (Trans. Sahih International)

    Autour du pied sont inscrits labismilah,desextraits du Coran 61:13 et les noms de Dieu,de Mahommet et Ali, et linvocation :

    Au nom de Dieu, le Misricordieux, le Compatis-sant. Victoire de Dieu et proche de la conqute,et donne les bonnes nouvelles aux croyants.Que Dieu, Mahommet, Ali viennent en aide.

    RARE BASSIN BEC VERSEUR

    uivre tam | Inde, Deccan,Golconde ou Bidar, XVIesicle |Ancienne collection prive isralienne

    RARE SPOUTED DECCANI BASINinned copper | India, Deccan, Golconda or Bidar,6thcentury | Formerly in an Is raeli private collection

    3 X 11,5 CM

    THIS RARE BASIN WAS PROBABLY MEANTfor ritual use, the body of the piece as wellas the inside rim and the inside of the bot-tom are covered with finely carved cursiveinscriptions. The epigraphic design, coveringalmost all the surface, the size and shape ofthe piece, are showing that the piece wasprobably ritually used in a religious context.

    This piece is a good illustration of the rela-tions between the Deccan region and theIranian world. A Persian Safavid basin withspout of a related shape is kept in the col-lections of The Louvre Museum in Paris (OA3371).

    The only other known basin of this group,with the same shape and closely related de-sign, was in the Stuart Cary Welch collectiondispersed on the English art market in 2011.The roundels around the body are bearing thenames of ten Shii Imams. Note that Ali al-Rida is here called Musa:

    Imam Ali al-Murtada, peace be upon Him

    Imam Hasan al-Mujtaba, peace be upon Him

    Imam Zayn al-Ibad, peace be upon Him

    Imam Muhammad al-Baqir, peace be upon Him

    Imam Jafar al-Sadiq, peace be upon Him

    Imam Musa al-Kazim, peace be upon Him

    Imam Musa (sic.) al-Rida, peace be upon Him

    Imam Ali al-Taqi, peace be upon Him

    Imam Ali al-Naqi, peace be upon Him

    Imam Hasan al-Askari, peace be upon Him

    Around the neck is the Surat al-Ikhlas,without the preceding basmalah:Say, Heis Allah, [who is] One, Allah, the EternalRefuge. He neither begets nor is born, Nor isthere to Him any equivalent. (Trans. SahihInternational). This is directly followed byinvocations to God, Muhammad and Ali:

    O All-Sufficient, O God, O Muhammad, O Ali!

    Down the top of the spout is the inscription:

    No youth but Ali, no sword but Dhul-Fiqar

    Along the sides of the spout is part ofQuran 12:64:

    But Allah is the best guardian, and He is themost merciful of the merciful. (Trans. SahihInternational)

    On the inside around the base and in thecentre of the base, is part of Quran 3:159:

    So by mercy from Allah, [O Muhammad], youwere lenient with them. And if you had beenrude [in speech] and harsh in heart, theywould have disbanded from about you. (Trans.Sahih International)

    Around the foot are the basmalah, partof Quran 61:13 and the names of God,Muhammad and Ali, and invocation:

    In the name of God, the Merciful, theCompassionate. Victory from God and nearconquest, and give the tidings to the believers.God, Muhammad, Ali, assistance.

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    CARREAU PIGRAPHIQUEPte siliceuse dcor

    peint sous glaure incoloretransparente | Syrie, Damas,XVIIIesicle, Empire Ottoman

    CALLIGRAPHIC TILEFritware with underglazepainted decoration | Syria,Damascus, 18thcentury,Ottoman Empire

    23 X 23 CM

    17CE CARREAU PORTE LINSCRIPTION : TAWAKKULL ALLAHqui signifie : Je men remets Dieu. Un carreau trs prochese situe dans la mosque attenante au mausole dIbn Arabi.Notre carreau est de mme typologie que les autres carreauxde ce lieu dont lun est dat 1173 AH 1759 AD.

    Voir gal ement : Catalogue dExposition, Muse Ariana Genve (Du 28 Fvrier au 31 Aot 2014) Terres dIslam LAriana sort de ses rserves II , p. 289, N276.

    Les carreaux de ce groupe comportent la totalit de linscrip-tion sur un seul carreau permettant de composer des panneauxen les compltant de carreaux dcors floraux ou gom-triques sans en connatre la taille exacte.

    THIS TILE BEARS THE INSCRIPTION: TAWAKKULLAllah which means: I rely on Allah. A closely related tilecan be seen in the mosque near Ibn Arabi mausoleum. In themosque one of the tiles is dated 1173 AH 1759 AD.

    See also: Exhibition Catalogue, Ariana Museum in Geneva(28thFebruary - 31st August 2014) Terres dIslam LArianasort de ses rserves II , p. 289, N276.

    The fact of having the whole inscription on one tile is allowingto decorate a whole architectural panel completed with re-peated geometrical or floral tiles without knowing its exact size.

    BOL MDICINAL OUTALISMANIQUEET SON COUVERCLEBidri - Feuille dargent dcoupeapplique sur un alliage forteteneur en zinc, tain, cuivre etplomb | Inde, Deccan, Bidar,Milieu du XVIIIesicle

    TALISMANIC OR MEDICINALCOVERED BOWLBidri - Alloy composed of zinc,tin, copper and lead coveredin sheet silver | India, Deccan,Bidar, Mid-18thcentury

    10,8 X 13,5 CM

    18

    CE BOL TALISMANIQUE DCOR FLORAL EST ORN LIN-trieur dinscriptions en criture naskh. Au centre du bolfigure la sourate Al Ikhlas CXII complte. Elle est aussi appelesourate de la puret du dogme. Sur le pourtour, on trouve unesrie de courts versets en criture naskh.

    Les inscriptions figurant sur ce type de bols donnaient despouvoirs curatifs ou talismaniques aux boissons quils conte-naient. Trois bols magiques en bidri de mme typologie sontconservs dans la collection de Jagdish Mittal et publis dans :Mittal J. (2011), Bidri Ware and damascene work in Jagdish andKamla Mittal Museum of Indian Art,Hyderabad : JKMMYA,p. 84 - 91.

    THIS TALISMANIC BOWL IS DECORATED WITH FLOWERS.The inside part bears inscriptions in naskhscript. In the centerof the bowl sura Al Ikhlas 112 complete, also called sura ofthe purity, on the rest of the surface a series of short quranicverses innaskh script.

    Such bowls withnaskh calligraphy were used, as the magicalbrass bowls, for curative or talismanic purposes. Three othertalismanic bidri bowls from the Jagdish Mittal collection arepublished in: Mittal J. (2011),Bidri Ware and damascene workin Jagdish and Kamla Mittal Museum of Indian Art , Hydera-bad: JKMMYA, p. 84 - 91.

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    BIFOLIUM DUNFARHANG-E JAHANGIRI

    Encre, pigments et or sur papier | Inde,circa 1608 - 1609, Epoque Moghole

    BIFOLIUM FROMTHE FARHANG-E JAHANGIRIInk, pigments and gold on paper | India,circa 1608 - 1609, Mughal Period

    FOLIO: 34,5 X 23,4 CM

    19

    CETTE DOUBLE PAGE EST ISSUE DU FARHANG-I JAHANGIRI,UN IMPOSANTdictionnaire denviron 10 000 mots utiliss par les potes persans, comprenant denombreux mots obscurs, aussi bien persans quarabes, indiens, turcs et grecs. Il futcommandit par Akbar et complt sous le mcnat de Jahangir en 1608-1609. Lau-teur, Jamal al-Din Inju, tait un migr de Chi raz qui travailla dabord dans le Deccanavant dobtenir le mcnat dAkbar.

    On pense que le manuscrit dont ces feuilles drivent serait la copie originale qui auraitt prsente Jahangir une fois acheve. Les saisissantes bordures, remplies de fleurs,danimaux rels et mythiques et de tout type dhumains, y compris des ch asseurs, desartisans, des Europens et des yogis, prsentent une cohrence stylistique suggrantune datation de la premire dcennie du dix-septime sicle. Les motifs animaliers,

    comme celui-ci montrant un lopard chassant une antilope, sont particulirementremarquables par lnergie quils dgagent.

    Une section du manuscrit appartenait au marchand dart franais Georges Demotte audbut du vingtime sicle. Il enleva de nombreuses bordures afin de les rutiliser entant que support pour des peintures persanes et mogholes. Cest aussi probablement lui que furent achetes quinze pages de manuscrits par la Chester Beatty Library,Dublin. Etant donn le dmembrement du manuscrit, trs peu de doubles pages ontsurvcu et sont pratiquement inconnues sur le march de lart. Ce bifolium proposeun rare aperu de la faon dont les bordures taient ralises, comme des doublespages aux motifs complmentaires.

    Luvre tait inhabituellement ordonne, daprs la seconde lettre du mot plutt quede la dernire ou la premire. Cette double page est issue du chapitre de mots qui ontnuncomme deuxime lettre.

    Voir : Leach, L. Y. (1995) Mughal and Other Indian Paintings from the Chester BeattyLibrary, Volume I, Londres, pp. 321-324.

    THIS DOUBLE PAGE COMES FROM THE FARHANG-I JAHANGIRI, A HUGE DIC-tionary of around 10,000 words used by Persian poets, including many obscure Per-sian words as well as Arabic, Indian, Turkic and Greek ones. It was commissionedby Akbar and completed under the patronage of Jahangir in 1608-1609. The author,Jamal al-Din Inju was an migr from Shiraz, who worked first in the Deccan beforewinning the patronage of Akbar.

    It is believed that the manuscript from which these leaves derive was the originalcopy which would have been presented to Jahangir on the completion of the work.The striking borders, which are filled with flowers, real and mythical animals, andall manner of humans including huntsmen, craftsmen, Europeans and yogis, arestylistically consistent with a date in the first decade of the seventeenth century. The

    animal designs, such as the one here of a leopard chasing an antelope, are particularynotable for their energy.

    A section of the manuscript belonged to the French dealer Georges Demotte in theearly-twentieth century, who removed many of the borders and reused t hem as mountsfor Persian and Mughal paintings. It was probably also from him that fifteen pagesfrom the manuscript were acquired by the Chester Beatty Library, Dublin. Due tothe dismemberment of the manuscript, very few double pages have survived and arevirtually unknown on the art market. This bifolium provides a rare insight into h owthe borders were designed as double pages of complementary designs.

    The work was unusually arranged according to the second rather than the last or firstletter of the word. This double page comes from the chapter of words that have nunas the second letter.

    See: Leach, L. Y. (1995) Mughal and Other Indian Paintings from the Chester BeattyLibrary,Volume I, London, pp. 321-324.

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    LES MOGHOLS SUIVIRENT LES TRADITIONS IRANIENNES ET CENTRASIATIQUES ENce qui concerne le remplissage des bordures de leurs luxueux manuscrits et albums

    avec des dessins de plantes et danimaux rels et mythiques peints lor. Ces motifs,initialement dinspiration iranienne et indienne, furent rapidement complts par desanimaux du sous-continent indien et excuts dans des styles moghols distincts. Lesmagnifiques et stimulantes bordures sur une copie duKhamsade Nizami ralise pour

    Akbar en 1595 marquent un tournant dcisif dans le dveloppement de la peinturemarginale moghole, comme le font les extraordinaires peintures marginales, de sujetsdivers et souvent tout en couleur, dans les albums prpar s pour Jahangir (voir :Brend, B. (1995) The Emperor Akbars Khamsa of Nizami, Londres ; Losty, J. P. (1982)Art of the Book in India, Londres, N 65 & 78 ; Beach, M. C. (1978) The Grand Mogul,Imperial Painting in India 1600-1660, Williamstown MA, N 5-12).

    Les dessins marginaux dors de cette double page ouvrant sur lEskandarnamehde Nizami sont tonnement proches de ceux des bordures du Farhang-i Jahangiri,qui sont considrs comme ayant t excuts durant la premire dcennie du dix-septime sicle (Leach, L. Y. (1995) Mughal and Other Indian Paintings from theChester Beatty Library,Volume I, Londres, pp. 321-324). Comme dans ce manuscrit,ils sont de style simple mais nergique, peints dans une couleur dore intense et cernsde noir. Les dtails ont t vivifis par des couleurs tires de la mme palette que lesarlowhenluminou le frontispice.

    THE MUGHALS FOLLOWED THE IRANIAN AND CENTRAL ASIAN TRADITIONS OFfilling the borders of their luxury manuscripts and albums with designs of plants

    and real and mythical animals in gold brushwork. Though these designs were ini-tially of Iranian and Indian inspiration, they were soon joined by animals from theIndian subcontinent and executed in distinctly Mughal styles. The magnificent andincentive borders on a copy of the Khamsaof Nizami made for Akbar in 1595 marka watershed in the development of Mughal marginal painting, as do the extraordinarymarginal paintings of all manner of subjects and often in full colour on the albumsprepared for Jahangir (see: Brend, B. (1995) The Emperor Akbars Khamsa of Nizami,London; Losty, J. P. (1982) Art of the Book in India , London, N 65 & 78; Beach,M. C. (1978) The Grand Mogul, Imperial Painting in India 1600-1660, WilliamstownMA, N 5-12).

    The marginal drawings in gold on this double-page opening to Nizamis Eskandarna-meh are strikingly close to those on t he borders of the Farhang-i Jahangiri, which arebelieved to have been executed in first decade of the seventeenth century (see Leach,L. Y. (1995) Mughal and Other Indian Paintings from the Chester Beatty Library,Volume I, London, pp. 321-24). As in that manuscript they are in a simple but ener-getic style, painted in solid gold with a black outline. Here details have been enlivenedwith colours drawn from the same palette as the illuminated sarlawh or heading.

    FRONTISPICE DU ESKANDARNAMEHEncre, pigments et or sur papier | Inde,circa 1600 - 1610, Epoque Moghole

    DOUBLE ILLUMINATED OPENINGPAGE TO THE ESKANDARNAMEHInk, pigments and gold on paper | India,circa 1600 - 1610, Mughal Period

    BIFOLIUM: 32,5 X 37 CM

    20

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    RONTISPICE DUSHARAFNAMEH-YE ESKANDARI

    ncre, pigments et or sur papier |ran, Chiraz, circa 1570 - 1590

    DOUBLE PAGE ILLUMINATEDOPENING TO THESHARAFNAMEH-YE ESKANDARI

    nk, pigments and gold on paper |ran, Shiraz, circa 1570 - 1590

    IFOLIUM: 40 X 50 CM

    A SOMPTUEUSE ENLUMINURE ET LES DIMENSIONSmpressionnantes de cette double page ouvrant sur leharafnameh-ye Eskandari, un des cinq mathnavis consti-uant leKhamsaou Quintet de Nizami, sont typiques des

    manuscrits de Chiraz dans les annes 1570 et 1580. Pendantes dcennies, les manuscrits ont augment en taille, les illus-ations se sont multiplies et leur composition complexifies.

    Au dbut des annes 1590, on observe un dclin considrablee la qualit de production, probablement li la chute desirigeants Zulqadir dans la cit (voir : Ulu, L. (2006) Turkmanovernors, Shiraz artisans, Ottoman Collectors: Sixteenthentury Shiraz manuscripts, Istanbul, pp. 319-321, 464-465).

    Avec le Shahnameh de Firdausi, le Khamsade Nizami taituvre la plus copie Chiraz au seizime sicle. Pour dautresopies luxueuses faites Chiraz la mme priode, voir : Uluc,. (2006) Turkman governors, Shiraz artisans, Ottoman Collec-ors: Sixteenth century Shiraz manuscripts , Istanbul, Fig. 137,72, 180-182, 246.

    HE LAVISH ILLUMINATION AND IMPRESSIVE DIMEN-ions of this double-page opening to the Sharafnameh-yeskandari,one of the five mathnavisthat make up Nizamishamsa or Quintet, are typical of Shiraz manuscripts of the570s and 1580s. During these decades manuscripts increasedn size and the illustrations grew in number and complexityf composition. At the beginning of the 1590s there was aonsiderable decline in the quality of production, which wasrobably linked to the downfall of the Zulqadir rulers of theity (see: Ulu, L. (2006) Turkman governors, Shiraz artisans,ttoman Collectors: Sixteenth century Shiraz manuscripts,

    stanbul, pp. 319-321, 464-465).

    Along with Firdausis Shahnameh, NizamisKhamsawas themost frequently copied work in Shiraz in the 16thcentury. Forther luxury copies made in Shiraz in the same period, see:

    Ulu, L. (2006) Turkman governors, Shiraz artisans, Ottomanollectors: Sixteenth century Shiraz manuscripts, Istanbul,ig. 137, 172, 180-182, 246.

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    PAGE DALBUMAUX VERSETS DE HAFEZ ET PORTRAITDUN JEUNE HOMME AU VERSOEncre, pigments et or sur papier, monte en pagedalbum | Inde, circa 1600 - 1630, Epoque Moghole

    ALBUM PAGE WITH VERSES BY HAFEZAND A PORTRAIT OF A YOUNGNOBLEMAN ON THE VERSOInk, pigments and gold on paper,mounted on an album page | India,circa 1600 - 1630, Mughal Period

    39 X 26,5 CM

    22 LES MOGHOLS ATTACHAIENT BEAUCOUP DIMPORTANCE AUSSI BIENau travail des calligraphes contemporains qu celui des anciens matrespersans. Ces lignes dun ghazalde Hafez sont signes faqir abd al-rahimanbarin qalam, ou lhumble Abd al-Rahim, au calame ambre-gris , untitre probablement dcern au calligraphe par Jahangir. N Hrat, Abdal-Rahim migra en Inde ds son jeune ge et entra au service de Abdal-Rahim Khan Khanan, puis celui de lEmpereur Akbar, pour lequel ilcopia plusieurs manuscrits, notamment un fameux exemplaire du Khamsade Nizami. Jahangir, dont il tait trs proche, fit plus tard ajouter sonportrait ce manuscrit. Deux de ses pices furent insres dans le fameuxGolshan Album compil par Jahangir, et quinze pices de sa main furentajoutes dans un album compil par Shah Jahan, anciennement dans labibliothque de Mehdi Bayani (Bayani, M. (1939) Ahbal va Asar-e Khosh-nevisan,Tehran, N 536, pp. 389-91). Au verso, la peinture dun jeunearistocrate est attribuable au Deccan vers le milieu du dix-huitime sicle.

    THE MUGHALS PRIZED WORK BY CONTEMPORARY CALLIGRAPHERSas well as by the old Persian masters. These lines from a ghazal of Hafezare signed faqir abd al-rahim anbarin qalam, or The poor Abd al-Rahim, Ambergris Pen, a title probably bestowed on the calligrapher byJahangir. Born in Herat, Abd al-Rahim migrated to India at a young ageand entered the service of Abd al-Rahim Khan Khanan, and then that ofthe Emperor Akbar, for whom he copied several manuscripts including afamous copy of NizamisKhamsa.Jahangir, with whom he enjoyed a closeassociation, later had his portrait added to this manuscript. Two of hispieces were included in the famous Golshan Album compiled by Jahangir,and fifteen pieces in his hand were included in an album compiled byShah Jahan, formerly in the library of Mehdi Bayani (Bayani, M. (1939)

    Ahval va Asar-e Khoshnevisan, Tehran, N 536, pp. 389-91). The pain-ting on the verso of a young nobleman is attributable to the Deccan in themiddle of the eighteenth century.

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    EUILLE DEXERCICEN CRITURE TALIQigne par Darvish

    Abdullah Munshi |ncre, pigments et orur papier | Iran, date11 AH 1505-1506 AD

    RACTICE SHEET INTALIQSCRIPTigned by Darvish Abdullah

    Munshi | Ink, pigments andold on paper | Iran, dated11 AH 1505-1506 AD

    6 X 18 CM

    L SAGIT DUN EXEMPLE DE LCRITURE CONNUE SOUS LE NOM DE TALIQ, QUI TAITtilise presque exclusivement pour l insha, la composition de documents officiels et de corres-ondance. Cette feuille est signe par un fameuxmunshiou secrtaire, Darvish Abdallah Munshi.est une copie dun texte dans lequel lauteur se plaint de son mal du pays pour la ville de Shiraz,uil a quitte quelque dix-sept ans auparavant, ainsi quune prire et un quatrain en persan.arvish Abdullah a crit quil est difficile dimaginer un texte plus beau et relate le grand effetue la lecture a sur lui. Il est dat de 911 AH 1505-1506 AD. Dautres compositions en taliqar Darvish Abdullah ont t inclues dans lalbum ralis pour lAmir Ghayb Beg, aujourdhuila Topkapi Palace Library (voir : Roxburgh, D. (2004) The Persian Album, 1400-1600: Fromispersal to Collection,New Haven, p. 231).

    THIS IS AN EXAMPLE OF THE SCRIPT KNOWN AS TALIQ, WHICH WAS USED ALMOSTexclusively for insha, the composition of official documents and correspondence. This leaf issigned by a well known munshi or secretary, Darvish Abdallah Munshi. It is a copy of a text inwhich the author complains of homesickness for the city of Shiraz, which he left some seventeenyears ago, as well as a prayer and a quatrain in Persian. Darvish Abdullah has written that it ishard to imagine a more beautiful text and relates the great effect reading it had upon him. It isdated 911 AH 1505- 1506 AD. Other compositions in taliqby Darvish Abdullah were includedin the album made for the Amir Ghayb Beg, now in the Topkap Palace Library (see: Roxburgh,D. (2004) The Persian Album, 1400-1600: From Dispersal to Collection,New Haven, p. 231).

    24

    QUATRAIN PERSAN EN NASTALIQSign Lhumble Ali | Encre, pigmentset or sur papier | Khorassan, Hratou Boukhara, circa 1500 - 1530

    PERSIAN QUATRAIN IN NASTALIQSigned The Poor Ali | Ink, pigmentsand gold on paper | Khorasan, Herator Bukhara, circa 1500 - 1530

    20,3 X 10,2 CM

    CE QUATRAIN FAIT LLOGE DE LA MAIN DU CALLIGRAPHE,qui pourrait bien galement avoir t lauteur. Il est sign Lhumble Mir Ali , une des nombreuses signatures consi-dres comme appartenant au fameux calligraphe Mir AliHaravi. Il est n Hrat et y travailla la cour du Sultantimouride Husayn Bayqara, qui le rcompensa avec le titrede sultani Scribe royal . Aprs la mort de Sultan Husaynen 1506, Mir Ali partit Mashhad, mais revint Hrat pourentrer au service dun aristocrate la suite de la prise Safa-

    vide de la ville en 1513. En 1528, cependant, Hrat tomba auxmains de lOuzbek Ubaydallah Khan, qui prit lartiste aveclui Boukhara lorsquil fut chass hors de Hrat en 1530.

    Luvre de Mir Ali tait trs recherche et collectionne,notamment par les Moghols, et forma le cur de la compo-sante calligraphique des albums impriaux, comme lefameux Golshan Album compil par Jahangir et le Kevor-kian Album, qui fut initi par Jahangir et complt parShah Jahan. Mir Ali est lauteur de certains des pomesinclus dans le Kevorkian Album (Welch, S. C., Schimmel, A.,Swietochowski, M. L., Thackston, W. M. (1987) The Empe-rors Album, Images of Mughal India,New York, N 27, 56).

    THIS QUATRAIN PRAISES THE HAND OF THE CALLIGRA-pher, who may well have been the author as well. It is signedThe poor Mir Ali, one of the many signatures thought tobelong to the famous calligrapher Mir Ali Haravi. He wasborn in Herat and worked there at the court of the Timu-rid Sultan Husayn Bayqara, who awarded him with thetitle of sultani,Royal [Scribe]. Following Sultan Husaynsdeath in 1506, Mir Ali moved to Mashhad, but returned toenter the service of a nobleman following the Safavid cap-ture of the city in 1513. In 1528, however, Herat fell tothe Uzbek Ubaydallah Khan, who took the artist with himto Bukhara when he was forced out of the Herat in 1530.

    Mir Alis work was avidly collected, particularly by the Mu-ghals, and formed the bulk of the calligraphic component ofimperial albums such as the famous Golshan Album compiledby Jahangir and the Kevorkian Album, which was initiated by

    Jahangir and completed by Shah Jahan. Mir Ali is the authorof some of the poems in his hand included in the KevorkianAlbum (Welch, S. C., Schimmel, A., Swietochowski, M. L.,Thackston, W. M. (1987) The Emperors Album, Images ofMughal India,New York, N 27, 56).

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    PAIRE DE TONDI DCOR CALLIGRAPHIQUEBois peint et dor | Turquie Ottomane,Premire moiti du XIXesicle

    A PAIR OF CALLIGRAPHIC ROUNDELSPainted and gilded wood | OttomanTurkey, First half of the 19thcentury

    65 CM

    CES DEUX IMPORTANTS TONDI PORTENT UN DCOR ENrelief en puissante calligraphie thuluth or sur fond noir,donnant le nom des califes Ali et Uthman. Ils ne sontpas sans rappeler les rondeaux qui ornent la mosque deSainte Sophie Istanbul excuts au dbut du XIX e sicle.

    Un groupe de quatre tondi de mme typologie est publi dans :Catalogue dExposition, Hayward Gallery Londres (8 Avril - 4Juillet 1976) The Arts of Islam, N 466 a-d.

    THOSE TWO IMPRESSIVE ROUNDELS ARE BEARING THEnames of the caliphs Ali and Uthman in strong thuluthcal-ligraphy. They are on a smaller scale related to the monu-mental calligraphic roundels adorning the walls of HagyaSophia in Istanbul and made in the early 19 th century.

    A group of four closely related roundels is published in: Exhi-bition Catalogue, Hayward Gallery London (8th April - 4thJuly 1976),The Arts of Islam,N 466 a-d.

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    26PAGE DALBUMSIYAH MASHQ

    Encre, pigments et or sur papier,monte en page dalbum | Iran,Premire Moiti du XIXesicle

    ALBUM PAGEOFSIYAH MASHQInk, pigments and goldon paper, mounted on analbum page | Iran, Firsthalf of the 19thcentury

    41,5 X 26,5 CM

    CE SDUISANT SIYAH MASHQconsiste en une partie de quatrainpersan de bndiction souhaitant unebonne fortune un souverain.

    THIS ATTRACTIVE SIYAH MASHQconsists of part of a Persian benedic-tory quatrain wishing good fortuneon a ruler.

    CES DEUX PAGES VIENNENT DUN ALBUM CONTENANT DES CALLI-graphies des souverains qadjar dIran, qui taient souvent des calligraphes

    accomplis et qui distribuaient souvent des feuilles dexercices calligra-phiques en cadeaux. Ces deux pages ont t faites partir dune feuilledexercices signe par lempereur qadjar Fathali Shah, un fervent calli-graphe qui choisit le clbre Mir Emad (d. 1615) comme modle (Ekhtiar,M. (2006) Practice Makes Perfect: The Art of Calligraphy Exercises ( SiyahMashq)in Iran , Muqarnas, p. 116).

    Le souverain a copi un mme hmistiche trois fois en tant quexercicecalligraphique de prcision. Lhmistiche possde un contenu imprialappropri : Au sein de cette Cour, les personnes doivent se soumettre .

    Dautres pages dalbum aux feuilles dexercices similaires signespar Fathali Shah incluent une page simple de la collection du PrinceSadruddin Aga Khan (Catalogue dExposition, Genve (1988) IslamicCalligraphy, N 120), une page prsente dans lexposition Treasures ofIslam (Catalogue dexposition, Genve (1985) Treasures of Islam, N 176,p. 189), et une autre double page dalbum apparaissant chez Sothebys,le 13 Avril 2000, lot 48. Voir : Ekhtiar, M. (2006) Practice Makes Perfect:The Art of Calligraphy Exercises (Siyah Mashq) in Iran , Muqarnas, pp.107-130.

    THESE TWO PAGES COME FROM AN ALBUM CONTAINING CALLIGRA-phy by the Qajar rulers of Iran, who were often accomplished calligraphers

    and frequently gave out practice sheets as gifts. These two pages havebeen made from a practice sheet signed by the Qajar ruler Fathali Shah,an avid calligrapher who chose the celebrated Mir Emad (d. 1615) as hismodel (Ekhtiar, M. (2006) Practice Makes Perfect: The Art of CalligraphyExercises (Siyah Mashq) in Iran,Muqarnas, p. 116).

    The ruler has copied a single hemistich three times as an exercise in cal-ligraphic precision. The hemistich has an appropriately imperial content:In this court there must be servitude.

    Other album pages made from similar practice sheets signed by FathaliShah include a single page in the Prince Sadruddin Aga Khan collection(Exhibition catalogue, Geneva (1988) Islamic Calligraphy, N 120), a fur-ther page exhibited in the Treasures of Islamexhibition (Exhibition cata-logue, Geneva (1985) Treasures of Islam,N 176, p. 189), and anotherdouble album page which appeared in Sothebys, 13th of April 2000, lot48. See: Ekhtiar, M. (2006) Practice Makes Perfect: The Art of Calligra-phy Exercises (Siyah Mashq) in Iran, Muqarnas, pp. 107-130.

    27

    DOUBLE PAGE DALBUMDEXERCICE PAR FATHALISHAHEncre, pigments et or sur papier,monte en pages dalbum |Iran, circa 1800 - 1830

    DOUBLE ALBUM PAGEWITH CALLIGRAPHICEXERCISE BY FATHALI SHAHInk, pigments and gold onpaper, mounted on albumpages | Iran, circa 1800 - 1830

    BIFOLIUM: 39,5 X 31,5 CM

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    AGE DALBUMSIYAH MASHQigne Asadullah Shirazi | Encre,igments et or sur papier, monte en pagealbum | Iran, 1258 AH 1842-3 AD

    ALBUM PAGE OF SIYAH MASHQigned by Asadullah Shirazi | Ink, pigmentsnd gold on paper, mounted on an albumage | Iran, 1258 AH 1842-3 AD

    48 X 33 CM

    CE SIYAH MASHQ,DONT LE SUJET EST UNE PRIRE, ESTsign par le calligraphe qadjar Asadullah al-Shirazi et est dat1258 AH 1842-3 AD. Asadullah sest attribu le nom de katibal-hazrat al-sultani, Le scribe de son Altesse Royale , untitre qui lui a t dcern par Muhammad Shah Qajar. En hautde la page, le nom du Shah lui-mme apparat : Le SultanMuhammad Shah Ghazi . Une autre page dalbum portant lenom du Shah et la signature dAsadullah et date de 1257 AH1841-2 AD est atteste par Mehdi Bayani (Bayani, M. (1358

    AH 1939 AD)Asar va Ahval-e Khoshnevisan,4 vols., Thran,p. 23).

    THIS SIYAH MASHQ, THE SUBJECT OF WHICH IS Aprayer, is signed by the Qajar calligrapher Asadullah al-Shi-razi and dated 1258 AH 1842-3 AD. Asadullah has calledhimself katib al-hazrat al-sultani, the scribe of His RoyalHighness, a title awarded him by Muhammad Shah Qajar.At the top of the page, in small letters the name of the Shahhimself appears: The Sultan Muhammad Shah Ghazi. Ano-ther album page bearing the Shahs name and Asadullahssignature, dated 1257 AH 1841-2 AD, is recorded by MehdiBayani (Bayani, M. (1358 AH 1939 AD) Asar va Ahval- eKhoshnevisan, 4 vols., Tehran, p. 23).

    NEUF DOUBLE PAGES EN CRITURESHEKASTEH-YE NASTALIQ

    Encre et or sur papier, montes en pagesdalbum | Iran, XVIIIe - XIXesicle

    NINE DOUBLE ALBUM PAGESIN SHEKASTEH-YE NASTALIQInk and gold on paper, mounted on albumpages | Iran, 18th - 19 thcentury

    FOLIO: 20,5 X 13,5 CM

    CES PAGES DALBUM CONTIENNENT DES VERSETS DEghazals par Hafez dans une criture connue sous le nom deshekasteh-ye nastaliq.Peut-tre la plus graphique de toutesles critures persanes, elle se caractrise par une fluidit deforme et un raccordement typique de certaines combinaisonsde lettres. Ces raccourcis dcriture permettaient au copistede former les mots dun seul trait, sans relever le crayon dusupport, et ainsi de copier les documents officiels et autreslettres plus rapidement. Elle surpassa lenastaliq au dix-septime sicle et atteignit un pic de popularit la fin dudix-huitime et au dix-neuvime sicles sous la direction dematres comme Darvish Abd al-Majid Taleqani. A partir de cepoint, cette criture fut apprcie comme un art part entireet fut insre dans des albums de calligraphie et de peinture.Pour un album contemporain ddi entirement aushekasteh-ye nastaliq, voir : Catalogue dExposition, Istanbul ( 2010)Treasures of the Aga Khan Museum,N 45, pp. 96-7. Voir :Blair, S. S. (2006) Islamic Calligraphy, Edimbourg, pp. 441-446.

    THESE PAGES FROM AN ALBUM CONTAIN VERSES FROMghazalsby Hafez in the script known as shekasteh-ye nas-taliq.Perhaps the most graphic of all the Persian scripts, itis characterized by fluidity of form and the distinctive joiningof certain letter combinations. These shorthand connectionsallowed the scribe to write words in a single stroke withoutremoving pen from paper, and thereby copy official documentsand letters more quickly. It developed out of nastaliq in theseventeenth century and reached the height of its popularityin the late-eighteenth and nineteenth centuries under masterslike Darvish Abd al-Majid Taleqani. By this point it had cometo be appreciated as an art form in its own right and wasincluded in albums of calligraphy and painting. For a contem-porary album devoted entirely to shekasteh-ye nastaliq, see:Exhibition Catalogue, Istanbul (2010) Treasures of the AgaKhan Museum, N 45, pp. 96-7. See: Blair, S. S. (2006)Islamic Calligraphy, Edinburgh, pp. 441-446.

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    PAGE MUFRADATDE LALBUM POLIEREncre, pigments, or et argent surpapier | Inde du Nord, circa 1780

    PAGE OF MUFRADATFROM THE POLIER ALBUMInk, pigments, gold and silver onpaper | North India, circa 1780

    26,5 X 34 CM

    LA BORDURE PARTICULIRE DE CETTE PAGE DALBUM

    lidentifie comme provenant dun album commandit parAntoine Polier, un ingnieur suisse au service de la Compa-gnie des Indes Orientales et des Nawwabs dAwadh (Oudh)durant la fin du dix-huitime sicle. Pendant son sjour Lucknow, Polier commanda un groupe dartistes dirigspar le peintre Mihr Chand une compilation de divers albumsde peintures et calligraphies, la fois anciennes et contem-poraines. Onze de ces albums sont dsormais conservs auMuseum fr Islamische Kunst Berlin. Parmi les nouveauxexemplaires calligraphiques commandits par Polier, on trouveun quatrain sign par Muhammad Ali, un calligraphe de lacour moghole de Delhi, dat de 1196 AH 1781-2 AD (Fraser, M.& Kwiatkowski, W. (2006) Ink and Gold: Islamic Calligraphy,Londres, N 40, p. 130). La main est comparable celle de cesmufradatet pourrait alors faire partie des pices commanditespar Polier lui-mme.

    Voir : Hickman, R. (1979) Indische Albumbltter, Miniaturenund Kalligraphien aus der Zeit der Moghul-Kaiser, Leipzig et

    Weimar.

    THE DISTINCTIVE BORDER ON THIS ALBUM PAGE IDENTI-

    fies it as having come from an album commissioned by AntoinePolier, a Swiss engineer in the service of the East India Com-pany and the Nawwabs of Awadh (Oudh) in the late-eighteenthcentury. During his residence in Lucknow, Polier ordered agroup of artists headed by the painter Mihr Chand to compilevarious albums of both antique and newly-commissioned pain-tings and calligraphy. Eleven of these albums are now in theMuseum fr Islamische Kunst in Berlin. Among the new cal-ligraphic specimens commissioned by Polier is a quatrain sig-ned by Muhammad Ali, a calligrapher at the Mughal court inDelhi, dated 1196 AH 1781-2 AD (Fraser, M. & Kwiatkowski,W. (2006) Ink and Gold: Islamic Calligraphy, London, N 40,p. 130). The hand is comparable to that of these mufradatandraises the possibility that it too was among the pieces commis-sioned by Polier himself.

    See: Hickmann, R. (1979) Indische Albumbltter, Miniaturenund Kalligraphien aus der Zeit der Moghul-Kaiser, Leipzig andWeimar.

    31VERSETS CORANIQUESncre sur papier marbr | Empire

    Ottoman, XVIIe sicle

    VERSES FROM THE QURANnk on marbled paper | Ottomanmpire, 17th century

    42 X 35 CM

    BIEN QUE LES PLUS ANCIENS EXEMPLES DCRITURE SUR

    papier marbr dans le monde islamique remontent aux alen-tours de 1539 en Asie Centrale, celui-ci fut employ Istanbulds la fin du seizime sicle. Durant les dcennies suivantes,la production de papier marbr devint si solidement associe lEmpire Ottoman quelle fut connue en Europe sous le nomde papier turc. Quoique le papier marbr devint rapidementpopulaire pour la ralisation de motifs, de doublures et debordures extrieures de pages dalbums, son utilisation icien tant que fond pour un texte crit est extrmement rare.Lcriture et le format sont cependant bel et bien typiquesdes manuscrits coraniques de la priode, et il se pourrait quela feuille soit issue dun recueil de versets plutt que dunecopie complte dun Coran. Voir : Sonmez, N. (1992) Ebru,Marmorpapiere,Ravensbourg, pp. 30-38.

    THOUGH THE EARLIEST EXAMPLES OF WRITING ON MAR-

    bled paper in the Is lamic World date to around 1539 in CentralAsia, by the end of the sixteenth century it was being producedin Istanbul. In the following decades the production of mar-bled paper become so associated with the Ottoman Empire thatit was known in Europe simply as Turkish paper. Thoughmarbled paper quickly became extremely popular for makingdesigns, doublures and the outer borders of album pages, itsuse here as the ground for the written text is extremely rare.Nor are th e hand and format in anyway typical of Quransmanuscripts of the period, and it may be that this leaf comesfrom an album of verses rather than a complete copy ofthe Quran. See: Snmez, N. (1992) Ebru, Marmorpapiere,Ravensburg,pp. 30-38.

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    LES NOMS DE DIEU,MAHOMET, ALI, FATIMA, HASANET HUSAYN COMPOSS DE VERSETSDU CORAN EN CRITURE GHUBARIEncre, pigments et or sur papier | Iran,Seconde Moiti du XIXesicle

    THE NAMES OF GOD, MUHAMMAD, ALI,FATIMA, HASAN AND HUSAYN, COMPOSEDOF CHAPTERS FROM THE QURAN IN GHUBARISCRIPTInk, pigments and gold on paper | Iran,

    Second half of the 19th

    century

    25,5 X 39,5 CM

    GHUBARI,LE NOM DE CETTE CRITURE MINIATURE, VIENTde ghubar, le terme arabe pour poussire. Il tait utilis enparticulier pour les petites copies de Corans, tout commepour les rouleaux coraniques et talismaniques, o les minus-cules lettres taient souvent disposes de faon former deslettres plus larges, ou bien la ligne de base contre laquelle cesdernires se dtachaient en rserve (voir : Catalogue dexposi-tion, Istanbul (2011) Treasures of the Aga Khan Museum,N 47,p. 114), participant parfois de motifs floraux ou zoomorphes(Stanley, T. (1996) The Quran and Calligraphy,Londres : Cata-logue Bernard Quaritch 1213, N 31).

    Les panneaux calligraphiques avec des formules pieuses encriture ghubaritaient trs apprcis la fin de la priodeqadjar en Iran et dans lEmpire Ottoman. Sur cette page, diverschapitres du Coran entourent les noms de Dieu, Mahomet etAli dans la partie suprieure, dautres chapitres forment lesnoms de Hasan, Husayn et Fatima. Pour une autre formuleshiite en criture ghubari, en forme de lion cette fois-ci, voirle lot 98 de la vente Sothebys Doha du 16 Dcembre 2010.

    Lenluminure suggre une datation de la seconde moiti dudix-neuvime sicle. Il y a aussi une dimension exprimentale la calligraphie, comme la forme fleuronne de la lettre mimqui est une rminiscence du travail des calligraphes qadjar, telMalik Muhammad (Safwat, N. F. (1996) Art of the Pen: Calli-graphy of the 14thto 20thcenturies AD, Londres, N 113-114,pp. 176-177).

    GHUBARI, THE NAME FOR THIS MINIATURE SCRIPT,comes fromghubar, the Arabic word for dust. It was usedin particular for small copies of the Qurans as well as onQuranic and talismanic scrolls, where the tiny letters wereoften shaped to form larger letters or the ground against whichlarger letters were formed in reserve (see: Exhibition catalogue,Istanbul (2011) Treasures of the Aga Khan Museum, N 47, p.114), sometimes as part of floral or zoomorphic designs (Stan-ley, T. (1996) The Quran and Calligraphy, London: BernardQuaritch Catalogue 1213, N 31).

    During the later-Qajar period, calligraphic panels, with piousformulae in ghubari script became popular in Iran and the Ot-toman Empire. On this leaf, various chapters from the Quransurround the names of God, Muhammad and Ali in the panelat the top, and further chapters form the names of Hasan,Husayn and Fatima. For another Shii formula made fromghubari script, this time in the form of a lion, see Sothebys,Doha, 16th of December 2010, lot 98.

    The illumination points to a date in the second half of thenineteenth century. There is also an experimental feel to thecalligraphy, such as the floriated form of the letter mimthat isreminiscent of the work of Qajar calligraphers such as MalikMuhammad (Safwat, N. F. (1996) Art of the Pen: Calligra-phy of the 14thto 20thcenturies AD, London, N 113-114, pp.176-177).

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    PAGE DALBUMDEXERCICEEN CRITURESHEKASTEH-YE NASTALIQ

    Signe al-Sayyid Ali | Pigments et orsur papier, monte en page dalbum |Iran, Premire Moiti du XIXesicle

    ALBUM PAGE OFAN EXERCISE INSHEKASTEH-YE NASTALIQSigned by al-Sayyid Ali | Pigments andgold on paper, mounted on album page |Iran, First half of the 19 thcentury

    36,5 X 21,5 CM

    LE COPISTE DE CES VERSETS EN SHEKASTEH-YEnastaliqdclare en haut de page quil sagit dun sar-mashq,ou exercice. Il a sign son uvre al-Sayyid Ali et laddicace une personne reste anonyme en haut gauchede la page.

    THE SCRIBE OF THESE VERSES IN SHEKASTEH-YEnastaliqstates at the top of the page that it is a sar-mashq,

    or exercise. He has signed the work al-Sayyid Ali and haswritten a dedication to an unnamed person up the l eft side.

    EN IRAN, LCRITURE NASKHUTILISE POUR COPIER LESCorans, dont le dveloppement est traditionnellement attribu Ahmad Nayrizi, tait galement utilise pour copier des slec-tions de versets coraniques, des hadith, des prires et des apho-rismes, souvent en les incluant dans des albums. Cette picecontient des versets du Coran et est signe par le calligrapheAbd al-Ali et date de Rabi al-Awwal 1238 AH Novembre-Dcembre 1822 AD. Une composition trs proche du mmecalligraphe, o il signe lui-mme Ibn Muhammad al-KhurasaniAbd al-Ali, date de Rabi al-Thani 1231 AH Mars 1816 AD, setrouve dans la collection Khalili (Safwat, N. F. (1996) The Art ofthe Pen, Calligraphy of the 14 thto 20thcenturiesAD, Londres,N 168, pp. 221-22).

    IN IRAN THE TYPE NASKH USED FOR COPYING THEQurans, the development of which is traditionally ascribed toAhmad Nayrizi, was also used for copying selected Quranicverses, hadith,prayers, and aphorisms, often for inclusion inalbums. This piece contains verses from the Quran and is sig-ned by the calligrapher Abd al-Ali and dated Rabi al-Awwal1238 AH November-December 1822 AD. A very similar com-position by the same calligrapher, where he signs himself IbnMuhammad al-Khurasani Abd al-Ali, dated Rabi al-Thani1231 AH March 1816 AD, is in the Khalili Collection (Safwat,N. F. (1996) The Art of the Pen, Calligraphy of the 14 thto 20thcenturies AD,London, N 168, pp. 221-22).

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    AGE DALBUMAUX VERSETS CORANIQUESigne Abd al-Ali, Rabi al-Awwal | Encre etr sur papier, monte en page dalbum | Iran,238 AH Novembre - Dcembre 1822 AD

    ALBUM PAGEWITH QURANIC VERSESigned by Abd al-Ali, Rabi al-Awwal | Ink andold on paper, mounted on album page | Iran,238 AH November - December 1822 AD

    8 X 19 CM

    14THCENTURIES

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    PAGE DALBUM EN CRITURESHEKASTEH-YE NASTALIQ

    Encre et or sur papier, monte en page dalbum |Iran, Ispahan, Premire Moiti du XIXesicle

    ALBUM PAGE OFSHEKASTEH-YE NASTALIQ

    Ink and gold on paper, mounted on album page |Iran, Isfahan, First half of the 19 thcentury

    33,5 X 21 CM

    CETTE PAGE CALLIGRAPHIE CONTIENT DIVERS TEXTES ENshekasteh-ye nastaliq,dont une histoire propos de Mahmudde Ghazna, le chapitre douverture du Coran et des quatrains enpersan. Le calligraphe na pas sign son uvre, mais il sagit dustyle de Muhammad Shafi Visal, connu sous le nom de MirzaKuchak (d. 1846), un des calligraphes les plus clbres de lapriode Qadjar. A un endroit, le calligraphe dclare que la picea t ralise comme cadeau pour un ami, et un autre endroitquelle a t copie Ispahan.

    THIS CALLIGRAPHIC PAGE CONTAINS VARIOUS TEXTS INshekasteh-ye nastaliq, including a story about Mahmud ofGhazna, the opening chapter of the Quran, and Persian qua-trains. The calligrapher has not signed the work, but it is inthe style of Muhammad Shafi Visal, known as Mirza Kuchak(d. 1846), one of the most celebrated calligraphers of the Qajarperiod. In one place, the calligrapher states that the piece wasmade as a gift for a friend, and elsewhere that it was copiedin Isfahan.

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    PLAQUE SAFAVIDE AJOUREAcier ajour et laiton | Iran, XVIIesicle, Epoque Safavide

    SAFAVID OPENWORK PLAQUEOpenwork steel and brass | Iran,17thcentury, Safavid Period

    17,1 X 15,5 CM

    Cette plaque est inscrite au centre : le Toujours Ardent;les bordures portent des extraits de la sourate al-baqara,II.255. Les productions en acier ajour dcor pigraphiquesont typiques du monde iranien et plus particulirement lies la priode safavide. Cette technique tait utilise pour lafabrication dlments dcoratifs appliqus sur des portes, oupour la fabrication dtendards de procession chiites Alams.La forme de notre plaque peut laisser penser quelle est lundes cts dune base carre dun tendard de procession. UnAlam monumental de cette typologie est conserv dans lescollections de la David Collection (Inv. no. 32/2001).

    In the centre of this plaque is the inscription: O The Ever-yearning One; the borders bear quotes from the Quran, suratal-baqara, II, parts of 255. The pierced metalwork techniqueused to create epigraphic designs was very sought after in Iranat the Safavid period. Metal plaques of that type were used forthe decoration of doors, or for creating alamstandards usedduring shia religious processions. Some monumental alamshave been produced in Iran. Our plaque could be an elementof the square base of one. A monumental standard of the samegroup is kept in the collections of the David Collection (Inv.no. 32/2001).

    37

    CE BAZU-BAND EST INCRUST DOR ET PRSENTE UNEsrie dinscriptions pieuses sur le dessus et les cts se dta-chant du fond or des cartouches : Paroles Magnanimes, Bienfaiteur Victorieux, Bienfaiteur Nourricier, Bienfaiteur Glorieux et Bienfaiteur Indulgent.Ce braceletdpaule avait une vocation talismanique, la fois par lesinscriptions sur les rouleaux quil pouvait contenir et par lebiais de son dcor calligraphique. Les mtaux persans sont laplupart du temps damasquins et non incrusts comme cestici le cas. Ce procd, techniquement plus complexe et plusonreux, tait rserv des objets prestigieux.

    THIS VERY FINE BAZU-BAND IS INLAID WITH GOLD ANDbears a serie of calligraphic cartouches: O Magnanimous

    Words, O Vi ctorious Benefactor, O Nourishing Benefac-tor, O Glorious Benefactor and O Indulgent Benefactor.This bazu-band was used as a talisman, its talismanic poten-tial enhanced by the inscriptions as well as by the talismanicrolls it probably contained. Most of Persian metalwork withgold design is usually damascened. The process of inlaying istechnically more complex and used for more prestigious pieces.

    36

    BAZU-BAND MINIATUREAcier incrust dor | Iran,XVIIesicle, Dynastie Safavide

    MINIATURE BAZU-BANDSteel inlaid with gold | Iran,17thcentury, Safavid Dynasty

    0,9 X 3,7 X 3 CM

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    LA QUALIT DE FABRICATION DE CET OBJET LE PLACE PARMI UN PETIT GROUPE DOBJETSottomans prestigieux en marqueterie du XVI esicle dont les autres exemples connus sont lis aucentre du pouvoir tel le fameux trne de campagne conserv au Muse de Topkapi. Ici, lusage dela nacre est rserv certaines surfaces et l es lments sont incrusts directement dans la matireet ne couvrent pas toute la surface. Le traitement particulier de la partie suprieure nest passans voquer le meuble Coran dcor gomtrique conserv au Muse dArt Turc et IslamiquedIstanbul (Inv. 33) provenant du Mausole dAhmed I, mais probablement lgrement antrieur(Voir : Catalogue dExposition, Galeries Nationales du Grand Palais Paris (15 Fvrier - 14 Mai1990) Soliman le Magnifique, p. 112). Une autre particularit de ce petit meuble est la prsencedun ingnieux systme de fermeture cach de chaque ct de la partie infrieure intrieure et quipermet de fermer le tiroir la manire des tiroirs secrets. Un autre meuble du mme groupe et dela mme priode est conserv dans les collections du Victoria and Albert Museum (C.19-1987).

    La calligraphie est ici prsente avec les deux lettres wawincrustes en nacre sur la faade et lesdeux cts du meuble, ainsi quavec les deux cartouches en calligraphie coufique gomtriqueplacs eux aussi en faade. Cette particularit calligraphique que lon retrouve sur des spcimenslis au fameux Ahmed Karahisari est probablement inspire de modles mamelouks antrieurs. Laprsence de ces lments confirme la destination dusage de ce meuble, la prsence des cintamaniquant elle confirme la destination physique de cet objet, centre de pouvoir important ou plusprobablement la Cour Ottomane sous le rgne de Soliman le Magnifique ou de Selim II.

    THIS OBJECT OF EXCELLENT CRAFTSMANSHIP IS PART OF A SMALL GROUP OF PRESTI-gious Ottoman pieces of furniture of the 16thcentury. The few other known examples from thesame group are all linked to the center of power or to important religious buildings, such asthe famous campaign throne kept at the Topkapi Museum. Here, the use of mother-of-pearl isrestricted to some areas, and the elements are inlaid directly into the wood, the use of mother-of-pearl is combined with ivory and used in a subtle balance with ivory and tin. The specifictreatment of the upper part reminds the design of the Quran chest with geometric decoration keptat the Turkish and Islamic Art Museum of Istanbul (Inv. 33) and coming from the Mausoleum ofAhmed I, but probably of slightly earlier date (See: Exhibition Catalogue, Galeries Nationales duGrand Palais Paris (15th February - 14th May 1990) Soliman le Magnifique,p. 112). Anotherdistinctive feature of this scribes chest is an ingenious wooden double lock hidden in each sideof the lower inner part, this system allows to lock the drawer in the manner of a secret drawer.Another piece of furniture from the same group and the same period is kept in the collections ofthe Victoria and Albert Museum (c.19-1987).

    The calligraphy here shows the two letters waw inlaid with mother-of-pearl on positive andnegative on the facade and on the two sides, along with two cartouches in kufic geometric cal-ligraphy also placed on the front. This calligraphic feature can be found on specimens linkedto the famous Ottoman calligrapher Ahmed Karahisari and probably originates from Mamlukmodels. All those elements are confirming the purpose of this piece of furniture, on the otherside the design and especially the presence of cintamaniconfirms the physical destination of thisobject to an important center of power or more likely to the Ottoman court, under the reign ofSuleiman the Magnificent or Selim II.

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    IMPORTANTE TABLE DE CALLIGRAPHENoyer, palissandre, bne, nacre,caille, tain et ivoire | Turquie Ottomane,Seconde Moiti du XVIesicle

    IMPORTANT COURTLY SCRIBES CHESTWallnut, rosewood, ebony, mother-of-pearl, tortoiseshell, tin and ivory | OttomanTurkey, Second Half of the 16thcentury

    19,7 X 55,4 X 21 CM

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    CETTE IMPORTANTE FRISE PIGRAPHIQUE EN BOIS AVECune belle inscription en djeli -thuluthrenferme une louangedivine (non coranique). Elle est signe par Abdullah Kirimiet date 987 AH 1570 AD. Abdullah Kirimi (d.1589) est unimportant calligraphe originaire de Crime qui est devenu Istanbul un disciple de Recep Revani E fendi, fils du grand calli-graphe Sheykh Hamdullah. Il est enseveli prs dEdirne Kapi.Son style original dans le trac de lcriture thuluthtait trsapprci sous le rgne du sultan Soliman le Magnifique. Cettefrise provient probablement dun btiment religieux important(mosque, couvent, madrasa) ou dun palais.

    THIS IMPORTANT EPIGRAPHIC FRIEZE BEARS A BEAUTI-ful djeli-thuluth inscription praising God. It is signed by Ab-dullah Kirimi and dated 987 AH 1570 AD. Abdullah Kirimi(d.1589) is an important calligrapher originally from Crimea.He became in Istanbul a disciple of Recep Revani Efendi, son ofthe famous calligrapher Sheykh Hamdullah. He is now buriednear Edirne Kapi. The originality of his style in the treatmentof the thuluth calligraphy was very sought after under thereign of Suleyman the Magnificent. This frieze was probablypart of an important religious building (mosque or madrasa),or part of a palace.

    IMPORTANTE FRISEPIGRAPHIQUE PARABDULLAH KIRIMIBois stuqu, peint et dor | TurquieOttomane, Date 987 AH 1570 AD |Provenance : famille royale ottomane

    IMPORTANT EPIGRAPHICFRIEZE BY ABDULLAH KIRIMIStucco, paint and gold on wood |Ottoman Turkey, Dated 987 AH 1570 AD |Provenance: royal Ottoman family

    18,7 X 166 CM

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    44

    PRCIEUX TAILLE-CALAME

    KALEMTRASManche en agate, or maill, meraude,lame en acier damasquin dor | TurquieOttomane, Fin du XVIIesicle |Provenance : famille royale ottomane

    PRECIOUS CALLIGRAPHERS KNIFEKALEMTRAS

    Agate, enamelled gold, emerald, steel damascenedwith gold | Ottoman Turkey, Late 17 thcentury |Provenance: royal Ottoman family

    12,8 CM

    40

    POLISSOIR EN MERAUDEEmeraude | Turquie Ottomane |Provenance : famille royale ottomane

    BURNISHING EMERALDEmerald | Ottoman Turkey | Provenance:royal Ottoman family

    5,7 CM

    41

    NCRIER ORNDE PIERRES PRCIEUSESOr maill pav de diamants, rubis etmeraudes | Turquie Ottomane, Finu XVIIe - Dbut du XVIIIesicle |rovenance : famille royale ottomane

    EWELLED INKWELLnamelled gold set withiamonds, rubies and emeralds |

    Ottoman Turkey, Late 17th -arly 18thcentury | Provenance:oyal Ottoman family

    CM

    VOIR : CATALOGUE DEXPOSITION,Washington (2009) The Tsars and the East,Gifts from Turkey and Iran in the MoscowKremlin,p. 100-101, N48.

    EE: EXHIBITION CATALOGUE, WASHING-on (2009) The Tsars and the East, Giftsrom Turkey and Iran in the Moscow Krem-n,p. 100-101, N48.

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    MAKTA EN IVOIREIvoire | Turquie Ottomane, XIXesicle

    IVORY MAKTAIvory | Ottoman Turkey, 19 thcentury

    14 CM

    CE CHARMANT MAKTA DCOR FLORALajour porte le nom de lartisan dans uncartouche de forme folie.

    THIS CHARMING MAKTA WITH PIERCEDfloral design bears the name of the maker ona leaf shaped cartouche.

    43

    MAKTACorne de rhinocros | Turquie Ottomane, XVIIIesicle

    MAKTARhinoceros horn | Ottoman Turkey, 18 thcentury

    7 CM

    LES MATRIAUX EXOTIQUES TAIENT APPRCIS POUR LA FABRICATION DESoutils des calligraphes. Lutilisation de la corne de rhinocros en est ici un bonexemple et est dune grande raret pour ce type dobjets qui privilgient souventlutilisation du corail ou de livoire. Ce makta porte la marque de lartisan dans uncartouche dcor ajour.

    EXOTIC MATERIALS WHERE VERY SOUGHT AFTER IN THE MAKING OF PRESTI-gious tools for calligraphy, as his showing here the use of rhinoceros horn, it isextremely rarely used compared to ivory or coral. The piece bears a makers mark ina pierced cartouche of square shape.

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    PAIRE DE CISEAUX DE CALLIGRAPHELaiton et acier damasquin dor | TurquieOttomane, XVIIIe - XIXesicle

    OTTOMAN CALLIGRAPHERS SCISSORSBrass and iron damascened with gold| Ottoman Turkey, 18th - 19 thcentury

    15,5 CM

    PAIRE DE CISEAUX DE CALLIGRAPHELaiton et acier damasquin dor | TurquieOttomane, XVIIIe - XIXesicle

    OTTOMAN CALLIGRAPHERS SCISSORSBrass and iron damascened with gold| Ottoman Turkey, 18th - 19 thcentury

    25,9 CM

    PAIRE DE CISEAUX DE CALLIGRAPHELaiton et acier damasquin dor | TurquieOttomane, XVIIIe - XIXesicle

    OTTOMAN CALLIGRAPHERS SCISSORSBrass and iron damascened with gold |Ottoman Turkey, 18th - 19thcentury

    26,2 CM

    LES POIGNES FORMENT LINSCRIPTION YA FETTAH,lun des 99 noms dAllah qui signifie : Celui qui ouvre.

    THE HANDLES FORM THE INSCRIPTION YA FETTAH,one of the 99 names of Allah which means: The One whoopens.

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    46

    47

    TAILLE-CALAME - KALEMTRASIvoire, acier et laiton | TurquieOttomane, XIXesicle

    CALLIGRAPHERS KNIFE - KALEMTRASIvory, iron and brass | Ottoman Turkey, 19thcentury

    19,5 CM

    CE KALEMTRAS DCOR VGTAL PORTE UNE PETITEmarque datelier estampe sur la lame.

    THIS FLORAL DESIGN KALEMTRAS BEARS A SMALLstamped makers workshop on the blade.

    TAILLE-CALAME - KALEMTRASAcier damasquin dor | TurquieOttomane, XVIIIe - XIXesicle

    CALLIGRAPHERS KNIFE - KALEMTRASIron damascened with gold| Ottoman Turkey, 18th - 19 thcentury

    20,8 CM

    TAILLE-CALAME - KALEMTRASIvoire et corail | Turquie Ottomane,XVIIIe - XIXesicle

    CALLIGRAPHERS KNIFE - KALEMTRASIvory and coral | Ottoman Turkey,18th - 19thcentury

    15,9 CM

    CE KALEMTRAS DCOR VGTAL PORTE UNE PETITEmarque datelier estampe sur la lame.

    THIS FLORAL DESIGN KALEMTRAS BEARS A SMALLstamped makers workshop on the blade.

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    GRANDE CRITOIRE PORTATIVE - DIVITSigne amal-i Mehmed, travail de Mehmed |Argent partiellement cisel et dor | TurquieOttomane, Portant la tughradu Sultan AhmedIII (1115 - 1114 AH 1703 - 1730 AD)

    LARGE TRAVELLING SCRIBES CASE - DIVITSigned amal-i Mehmed, made by Mehmed |Silver partially chiseled and gilded | OttomanTurkey, Bearing the tughraof Sultan AhmedIII (1115 - 1114 AH 1703 - 1730 AD)

    36 CM

    CET IMPOSANT DIVIT COMPREND UN ENCRIER ET UNporte-calame, les extrmits et artes sont ciseles dun dcorfloral et dores. Il porte latughradu sultan Ahmed III ( 1115 -1143 AH 1703 - 1730 AD) sur la base dore de lencrier, et lins-cription donnant la signature de lartisan, amal-i Mehmedsur le dessus du porte-plume dans un mdaillon fleuronn.

    Pour lanalyse des marques datelier et tughras ottomanes,voir : Garo, K. (1996) Ottoman Silver Marks, Istanbul.

    THIS LARGE DIVIT TRAVELLING SCRIBES CASE WASused to carry qalams and ink, the edges are finely carved andgilded with flowers of typical Ottoman style. It bears thetughraof Sultan Ahmed III ( 1115 - 1143 AH 1703 - 1730 AD) stam-ped on the gilded base of the inkwell, and an inscription withthe name of the maker, amal-i Mehmed on the top of theqalam compartment.

    For Ottoman assay marks see : Garo, K. (1996) Ottoman SilverMarks,Istanbul.

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    MUFRADAT

    ncre, pigments et or sur papier | EmpireOttoman, XVIIe - XVIIIesicle

    MUFRADAT

    nk, pigments and gold on paper |Ottoman Empire, 17th - 18thcentury

    E MUFRADAT DE CETTE PAGE CONSISTE EN DES COMBI-aisons de caractres commenant par la lettre haen thulutht muhaqqaq . Le trac est brillamment ralis et montre unetylisation pleine dassurance. Ltendue et la fluidit de lagne suggrent que le calligraphe tait actif quelques tempsprs que le style de Hafiz Osman devint populaire la finu dix-septime sicle (voir : Derman, U. M. (1998) Letters in

    Gold: Ottoman Calligraphy from the Sakip Sabanci Collection,tanbul, New York, p. 72).

    HIS MUFRADATON THIS PAGE CONSISTS OF COMBINA-ons of letters beginning with the letter hain thuluthand

    muhaqqaq. The hand is highly accomplished and shows aonfident stylization. The spaciousness and fluidity of the l ineuggest that the calligrapher was active sometime after Hafzsmans style became popular in the late-17th century (see:erman, U. M. (1998) Letters in Gold: Ottoman Calligraphy

    rom the Sakp Sabanc Collection,Istanbul, New York, p. 72).

    52

    LUMIER - QALAMDAMapier mch recouvert deuir estamp, dor et peint | Turquie

    Ottomane, Seconde moiti du XVII esicle

    ENBOX - QALAMDAMapier mch covered with stamped leather |

    Ottoman Turkey, Second half of the 17 thcentury

    X 26,5 CM

    N QALAMDAN DE MME FORME MAIS EN TOMBAK ESTonserv dans les collections du Muse de Topkapi (C.Y.448).

    Voir : Esad Arseven, C. (circa 1960) Les Arts Dcoratifs Turcs,tanbul : Mll Egtm Basimevi, p. 311, Fig. 701.

    A TOMBAKQALAMDAM OF CLOSELY RELATED SHAPE ISept in the collection of Topkapi Museum ( C.Y.448). See: Esad

    Arseven, C. (circa 1960) Les Arts Dcoratifs Turcs, Istanbul:Mll Egtm Basimevi, p. 311, Fig. 701.

    SAUPOUDREUSEArgent niell | Turquie Ottomane,Portant la tughradAbd al Majid 1255- 1877 AD - 1839 - 1861 AH

    DREDGERSilver with niello | Ottoman Turkey,Bearing the tughrafrom Abd al Majid1255 - 1877 AD - 1839 - 1861 AH

    7 X 6,8 CM

    53

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    COFFRET DE CALLIGRAPHEBois, tain, caille de tortue, nacre, corne,ivoire et os, montures en cuivre dor |Turquie Ottomane, XVIIIesicle

    CALLIGRAPHERS BOXWood, tin, tortoiseshell, mother-of-pearl, horn, ivory and bone, gilded coppermounts | Ottoman Turkey, 18 thcentury

    11,6 X 34 X 13,8 CM

    56

    SAUPOUDREUSEEN PORCELAINE DE MEISSENManufacture de Meissen sous la directionde Marcolini | Porcelaine polychrome |Allemagne pour le march Ottoman,1775 - 1814 | Provenance : anciennementdans la collection Jean Soustiel

    MEISSEN PORCELAIN DREDGERMeissen porcelain manufactureunder the direction of Marcolini |Porcelain decorated in polychromy |Germany for the Ottoman market,1775 - 1814 | Provenance: formerlyin the Jean Soustiel collection

    5 X 5 CM

    55

    DEUX ENCRIERS SUR UN PLATEAUArgent cisel | Turquie Ottomane,portant latughradAbdul Hamid II1293 - 1327 AD - 1876 - 1909 AH

    TWO INKWELLS ON A PLATEChiseled silver | Ottoman Turkey,Bearing thetughraof Abdul Hamid II1293 - 1327 AD - 1876 - 1909 AH

    8 X 17,6 X 12,7 CM

    57

    LA MANUFACTURE DE PORCELAINE DE MEISSEN MARCO-lini fut nomme daprs le Comte Camil lo Marcolini, qui en futle directeur partir de 1778 en plus de sa carrire politiqueet de son statut de Directeur des Arts et de lAcadmie desBeaux-Arts de Dresde.

    Il tenta de concurrencer la production noclassique de lamanufacture de Svres qui se dveloppait alors cette poque.Cest sous sa direction entre 1775 et 1814 quest adopte lamarque de fabrique de la porcelaine de Meissen, les deux pesbleues croises avec une toile, dite marque Marcolini.

    THE MEISSEN MARCOLINI MANUFACTURE HAS BEENnamed after the Count Camillo Marcolini, who directed themanufacture starting from 1778, besides his political careerand his status of Director of the Academy of Fine Arts ofDresden.

    He was to competing with the Sevres manufacture who wasexpanding in France at the same time. Under his direction,between 1775 and 1814, the trademark of the Meissen por-celain is adopted : two blue crossed swords with a star, calledMarcolini mark.

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    58 |59CARREAUX PIGRAPHIQUESEN CRITURENASKHCramique moule dcor peint en polychromiesous glaure incolore transparente |Iran, XIXesicle, Epoque Qadjar

    TWO EPIGRAPHIC TILES IN NASKHSCRIPTMoulded ceramic with underglaze painteddecoration | Iran, 19thcentury, Qajar period

    24 X 34,8 CM CHAQUE / EACH

    CES CARREAUX AU DCOR PIGRAPHIQUE EN ARABEfrappant sont un tmoignage de la crativit calligraphique lpoque Qadjar. Les inscriptions sur les carreaux de cra-miques persans se rencontrent le plus souvent sur des cra-miques utilisant la technique de la cuerda secaou ligne noire,lutilisation du dcor moul sur fond cobalt comme ici est rare.

    THESE VISUALLY STRIKING CERAMICS ARE A GOODexample of the liveliness of calligraphic tradition in Persia inthe 19thcentury. Epigraphy is rarely found on Persian cera-mic tiles using this technique of moulded design on a cobaltbackground, more commonly on tiles using the cuerda secaorblack line technique.

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    REMERCIEMENTS / THANKS TO

    William Kwiatkowski, Armen Tokatlian, Gabrielle Lesage,Eric Grunberg, Charlotte Maury, Antoine Mercier,Gilles Bensemoun, Grgoire Belot, Anthony Longueville,Manuel Docarmo, Olivier Omns, Antoine Buisson,Nicolas Marischael, Patricia Dupont, Hlne de Brux,Rim Mezghani

    ISBN 978-2-9536615-4-5

    Galerie Alexis Renard5 rue des deux Ponts 75 004 Parisle Saint Louis, FranceTl. : +331 44 07 33 02Mobile : +336 80 37 74 [email protected]

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    Galerie Alexis Renard5 rue des deux Ponts 75 004 Paris

    le Saint Louis, FranceTl. : +331 44 07 33 02Mobile : +336 80 37 74 [email protected]


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