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NUR AL-DIN ‘ABD AL-RAHMAN JAMI (D.1492), YUSUF WA ZULAYKHA, BUKHARA, 16TH CENTURY |
Estimate
25,000 - 35,000 GBP
bidding is closed
Description
- 21 by 12.5cm.
Persian manuscript on paper, 150 leaves plus 2 fly-leaves, 14 lines to the page written in black nasta’liq within 2 columns, ruled in polychrome and gold, the margins in different coloured gold-flecked paper, gold and polychrome opening bifolio with interlacing palmettes on a blue ground, 7 paintings, in fine contemporaneous black and gilt lacquer binding, decorated with vegetable interlace
Condition
In very good condition, minor losses to the opening bifolio but bright as viewed, the margins are clean, minor splits between the text panels and the margins due to ink corrosion, minor smudges but neat, minor scratches and discoloration to the binding, the paintings in overall good condition, with minor flaking and losses, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The manuscript contains the following seven illustrations: f.24b Yusuf outside Zulaykha’s bedchamber.
f.43b The Aziz of Egypt before Zulaykha.
f.70b Yusuf takes up being a shepherd.
f.83b The house with an image of Yusuf and Zulaykha depicted on the wall.
f.98a Zulaykha’s maidens cut their fingers at seeing Yusuf’s beauty.
f.118a Yusuf before the king after having being released from prison.
f.122a Zulaykha builds a house on Yusuf’s path.
During the fifteenth century, exchanges between the Timurid and Ming empires increased and paper decorated either with gold-splashes or gold animals and floral scrolls was imported from the Far East into Central Asia. The choice of using special paper for the margins shows a development and growing interest in the borders as an integral part of the manuscript.
The earliest dated examples of gold-decorated paper can be found in two copies of a Diwan by Farid al-Din ‘Attar, dedicated to Shahrukh (dated to circa 1438, both in the Turkish and Islamic Arts Museum, inv. no.TIEM-1992 and Topkapi Palace, Istanbul inv. no.TKS-Ahmed III-3050). A copy of Mir Haydar Khwarazmi’s Makhzan al-asrar now in the New York Public Library (inv.no. ms.41) is written on Chinese paper dyed blue and decorated with fine gold landscape scenes (published in Blair 2006, p.51 and in Bloom 2001, cover). Soon after, Persian craftsmen began producing their own versions of gold-flecked paper that came to be used in both the Timurid and Turkoman ateliers. By the sixteenth century they were largely used for Safavid and Mughal manuscripts (Blair 2006, pp.50-54).
f.43b The Aziz of Egypt before Zulaykha.
f.70b Yusuf takes up being a shepherd.
f.83b The house with an image of Yusuf and Zulaykha depicted on the wall.
f.98a Zulaykha’s maidens cut their fingers at seeing Yusuf’s beauty.
f.118a Yusuf before the king after having being released from prison.
f.122a Zulaykha builds a house on Yusuf’s path.
During the fifteenth century, exchanges between the Timurid and Ming empires increased and paper decorated either with gold-splashes or gold animals and floral scrolls was imported from the Far East into Central Asia. The choice of using special paper for the margins shows a development and growing interest in the borders as an integral part of the manuscript.
The earliest dated examples of gold-decorated paper can be found in two copies of a Diwan by Farid al-Din ‘Attar, dedicated to Shahrukh (dated to circa 1438, both in the Turkish and Islamic Arts Museum, inv. no.TIEM-1992 and Topkapi Palace, Istanbul inv. no.TKS-Ahmed III-3050). A copy of Mir Haydar Khwarazmi’s Makhzan al-asrar now in the New York Public Library (inv.no. ms.41) is written on Chinese paper dyed blue and decorated with fine gold landscape scenes (published in Blair 2006, p.51 and in Bloom 2001, cover). Soon after, Persian craftsmen began producing their own versions of gold-flecked paper that came to be used in both the Timurid and Turkoman ateliers. By the sixteenth century they were largely used for Safavid and Mughal manuscripts (Blair 2006, pp.50-54).