1630-1631; 1856-1857
The manuscript is composed of earlier text pages remounted on larger folios. The original text area is very small and copied in naskh script in black ink, 12 lines to a page. According to the colophon it was copied by Fathallah ibn Muhammad `Ali Isfahani on 25 Safar 1040 H (3 October 1630). These folios were later remounted on larger folios which are copied with Arabic commentary in a different hand. The name of this second scribe, Ibn Haji Mirza Muhammad Taqi Abd al-Husayn Isfahani, can be found in the margin of the colophon page along with the date 1273 (1856-7) and the patron Mirza Muhammad Zaki, Vazir of Isfahan. The lacquer binding on the outer covers, datable to c. 1850-75, is decorated with a large rose branch on a tan ground. The inner covers have floral arabesques on a red ground in the field and a framing border filled with arabesques.
21.1 × 13.6 × 4 cm (8 5/16 × 5 3/8 × 1 9/16 in.)
Ezzat-Malek Soudavar, Geneva, Switzerland (by 2014), by descent; to her son Abolala Soudavar, Houston, Texas (2014), gift; to Harvard Art Museums, 2014. Note: Ezzat-Malek Soudavar (1913-2014) formed this collection over a period of sixty years. She purchased the works of art on the international art market.
Ink, opaque watercolor and gold on paper
14th centuryPersianTwo handscrolls; ink on paper
17th centuryJapaneseDouble-sided, detached leaf from an incomplete manuscript; ink, color, and gold on black paper
18th centuryNepaleseInk, colors, and gold on paper
19th centuryInk, opaque watercolor and gold on paper
16th centuryIndianInk, opaque watercolor and gold on paper
16th centuryPersianThe forty-ninth of a series of 54 backing sheets mounted in an album; ink and color on paper
16th centuryJapaneseOpaque watercolor and gold on paper
18th-19th centuryIndianHandscroll; ink, color, gold and silver on paper
20th centuryJapaneseInk, opaque watercolor and gold on paper
16th centuryOttoman