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Reconciliation Or Estrangement? Colophon And Paintings In The Tιem Ẓafarnāma And Some Other Controversial Manuscripts

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Chapter Summary

The relative homogeneity of Persian painting in the early fifteenth century, represented by the court style of Herat, with provincial activity at Shiraz, Yazd, and Samarqand, gave way in the second half of the fifteenth century to more diverse idioms, with the Turkmen court centers of Baghdad and Tabriz, and other provincial centers such as Shirvan and Gilan, producing work in different styles. It can be even more difficult when, as is not uncommon, a manuscript has a colophon stating that it was calligraphed at a certain place, but some, or all, of its paintings are in a style that is different from others made in that location. This chapter examines this problem with regard to a number of manuscripts calligraphed in late fifteenth century Herat, taking as its main subject the unjustly neglected Ẓafarnāma now in the Türk ve İslam Eserleri Müzesi in Istanbul.

Keywords: fifteenth century Herat; Istanbul; Persian painting; relative homogeneity; Tiem Ẓafarnāma



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