Muqarnas 21 Essays In Honor Of J.m. Rogers: An Annual On The by Aga Khan Professor of Islamic Art & Architecture Gulru

By Aga Khan Professor of Islamic Art & Architecture Gulru Necipoglu, Doris Behrens-Abouseif, Lecturer in the Arts and Archaeology of Islam Anna Contadini

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2 3 4. 5. 6 Serpil Ba¯cæ, “From Translated Word to Translated Image: The Illustrated Øehnâme-i Türkî Copies,” Muqarnas 17 (2000): 162–76. For this kind of discussion, see Deborah Klimburgh-Salter, “A Sufi Theme in Persian Painting: The Divan of Sultan Ahmed ²alair in the Freer Gallery of Art,” Kunst des Orients 2 (1977): 43–84; Serpil Ba¯cæ, “A New Theme of the Shirazi Frontispiece Miniatures: The Dºv¸n of Solomon,” Muqarnas 12 (1995): 101– 11. Cod. or. 57. For the manuscript and its paintings, see Ernst J.

Ahmedî, ~skendernâme. Venice, Biblioteca Nazionale Marciana, Cod. or. 57, fol. 192a. 6 The artist’s inclusion of this iconographic element must have been inspired by one of these texts or by the traditions from which they stemmed, which were familiar to the collective cultural memory. 7 As it is almost certain that no Muslim painter would depict the hand of God in flesh, Christian religious images could have served as a model for the Ottoman artist’s curious iconographic addition. Although we cannot be certain if the artist had visited a church or seen a Christian illustrated manuscript first-hand, it is tempting to propose that Christian religious imagery was known among Muslims in the fifteenth century.

37 One may surmise that this series would have been called to the attention of the shah because of its popularity and more particularly because it was the first European architectural text to include, in both its ancient and its modern sections, a number of Persian buildings. 39 It must also be remarked that chinoiserie was popular in Iran at that time. 41 It is also interesting to note that the existence of a pagoda-like structure was not limited to Anzali: in his 1878 diary Nasir al-Din Shah mentions another such pagoda, at the palace of his son, the future Muzaffar al-Din Shah, at Tabriz:42 The heir apparent has added a kiosk, a long reception hall, a great tank, and some private apartments at the side of the building.

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