Islamische Buchkunst aus 1000 Jahren : Ausstellung der Staatsbibliothek Preussischer
Kulturbesitz, Berlin…/ [bearb. von Dieter George ... Red.: Hars Kurio]. - Wiesbaden
: Reichert [in Komm.], 1980. - 118 S. : zahlr. Ill. [ = Kat. Nr. 61]*
Persische Miniaturen und ihr Umkreis : Buch- und Schriftkunst arabischer, persischer,
türkischer und indischer Handschriften aus dem Besitz der früheren Preußischen Staatsbibliothek…
/ Joerg Kraemer. - Tübingen : Laupp, 1956. - X, 51 S., 12 Taf. [= Kat. Nr. 51]*
Text von goldenen, blauen und rot Leisten eingefasst; rote Überschriften
Miniaturen
40 Miniaturen aus dem 16.-18. Jahrhundert, teils indische Kopien von persischen Vorlagen,
teils eingeklebte Miniaturen verschiedener Epochen
Die Miniaturen sind nicht in die Handschrift gemalt sondern eingeklebt worden, manchmal
in mehreren Stücken, die sich wie üblich auf den Rand hinaus fortsetzen und nicht
immer genau zueinander passen. Bilder und Text stimmen mitunter nicht überein. Außergewöhnliche Ansammlung von Bildern aus verschiedenen Epochen und Stile möglicherweise,
weil der Besitzer der Handschrift das Werk unvollendet, d.h. ohne Illustrationen,
erhalten hat. Er ließ sodann wohl in die vielen Leerstellen Bilder einkleben, ohne
sich darum zu kümmern, dass sie nicht mit dem Text übereinstimmen, den sie sogar vielfach
überdecken, und untereinander nicht zusammenpassen. Das Ergebnis ist eine merkwürdige
Mischung, in der sich Werke verschiedenster Prägung nebeneinander finden und zum Teil
grell voneinander abstechen, so dass kein harmonisches Ganzes entstanden ist. Am Ende der Handschrift wurden drei Miniaturen wieder eingeklebt, die zuvor aus der
Handschrift herausgeschnitten wurden (f. II, f. IV, f. VI).
"This manuscript is of considerable interest and far earlier than Stchoukine believed.
The miniatures are by several hands and may have been painted at different times.
Perhaps the most intriguing are those in an archaic, Persianish style, probably the
work of an old man. Stchoukine illustrates two of them [85a, 124a]. They are reminiscent
of pictures of ca 1585 or a bit earlier in the British Museum Darabnama, pictures
signed by an artist named Ibrahim of Lahore. In all likelihood, these miniatures are
the work of an artist who had been trained at Lahore before the influenceof the Mughul
court. He does not seem to have adjusted very well to the Mughul idiom. His pictures,
however, are strong and individual with considerable modelling. They are the mostassertive
in this mansucript in terms of style. Another artist who worked on this volume was
obviously trained in the style of Isfahan; presumably he came from there. He has tried
half-heartedly to become a Mughul artist; but his pictures are oddly devided in stylistic
loyalty. Parts of them are Safavid (particularly many of the faces andturbans) while
other areas are determinedly Mughul. The effect is disturbing: a bit like going to
a fancy dress party! Another of the artists was a secondary Mughul painter. He is
of the sort that left the royal workshop after the death of Akbar and found employment
in the commercial ateliers of Agra [81b]. A full study of the manuscript would reveal
many small but intriguing points. For instance, folio [175b] is a purely Persian miniature,
cut down and adapted to the present volume. It is grade B Shiraz work of about 1575.
The original text area, upper left hand corner, was filled in with a snippet of identical
landscape. Other pictures, such as folio [239b], were taken from earlier Mughul manuscripts
of quite good quality. This page, which was cut and glued to fit its new role, can
be assigned to the late 16th century. It can be ascribed to a lesser member off the
imperial workshop. Folio [409a] was adorned by a miniature that can be assigned to
the Mughul workshop in about 1585. It also recalls the BM Darabnama. Regrettably,
time does not permit me to examine this interesting manuscript with care. I can only
say that it is NOT 18th century provincial Mughul work. The paintings are all far
earlier, many of the 16th century and few of the early 17th." Stuart Cary Welch, Fogg
Art Museum, August 10, 1976
