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THE BUFFALO FINE ARTS ACADEMY.
ALBRIGHT ART GALLERY

CATALOGUE OF AN
EXHIBITION OF
MUHAMMADAN MINIATURE PAINTING

WITH INTRODUCTORY NOTES BY
R. MEYER-RIEFSTAHL AND MARTIN BIRNBAUM

BUFFALO, NEW YORK
MARCH 10TH-APRIL IOTH
124—1914-^1

Copyright, 1014, by
MARTIN BIRNBAUM

3to
THE DEVINNE PRESS

FOREWORD
Although the knowledge of Muhammadan
miniature art has recently made great strides,
it would still be rash to reach definite conclu
sions about its earliest phases, since so little of
it has been found. If we are to put faith in
anecdotes, Western Asia had her Zeuxis and
Parrhasius. The famous Greek stories of
paintings of grapes which birds came to peck
at, and of curtains which deceived even the
trained artistic eye, are paralleled by the East
ern legends of Ibn el-Aziz and Kasir, whose
marvelous paintings of dancers were proba
bly triumphs of ingenuity if not of art.
The illuminated leaves of a manuscript of
the twelfth century, which are practically the
earliest works of the kind known to us, show
the art of painting in its primitive stages, but
it is interesting to find that F. R. Martin, our
best English authority, compares the finest of
the drawings in this manuscript to Rodin's
instantaneous sketches, describing them as
having been "made by a man who was bound
3

by the rigid rules of no academy, but who had
at his finger-tips and in his eyes an ancient
tradition, a tradition that was derived from
the most glorious days of Egyptian, Greek,
and Chinese art." The works assuredly do
afford a striking example of the long life of
Eastern customs, for had the figures been
drawn to-day, after the lapse of eight hundred
years, the artist would represent them in prac
tically the same manner. The rare excellence
attained in drawing the human figure is all
the more surprising when we recall the fact
that the Koran, following a Hebraic precedent,
advised against the portrayal of the human
figure. The interdict was however liberally
interpreted by the broader-minded sect of
Muhammadans to refer only to illuminations
of the holy book itself, and our earliest manu
script above referred to, which deals with
Automata or Mechanical Appliances, already
contains interesting robust portraits of a sul
tan and his courtiers. This, and the famous
manuscript of Dioscorides dated 1222, betray
Byzantine influences, while the color and the
conventions resorted to remind us of early
Egyptian paintings on linen. Even Assyrian
and Indian motives appear, but all these and
other foreign influences were absorbed by the
Persian artists in a healthy way, and instead
4

of becoming imitators, they established a dis
tinguished school of native art.
The Mongolian element began to assert it
self in the thirteenth century. Intercourse
between the Persian and the Chinese empires
had existed ever since the decline of Roman
power, and after the destruction of Bagdad in
a.d. 1258, the Mongol influence became the
predominating one. The thorough conquest
of Djingiz-Khan and his successors, after cen
turies of unrest and internal warfare, was
for Persia the commencement of a new and
graceful artistic era. Unfortunately, com
paratively little has remained from this most
important epoch. It was followed by the Ti-
murid School, which reached its flower in the
work of Bihzad, the Raphael of the East, court
painter to the sultan Husain Mirza, whose
reign ended in a.d. 1506. To illustrate the
high favor this artist enjoyed, Mr. Martin
quotes the chronicles which tell us that when
Shah Ismail, the artist's second patron, went to
war, he said : "If I suffer defeat and my capital
be taken by the enemy, I do not wish Shah
Mahmud Nishapuri [his court calligrapher]
and Master Bihzad to fall into the hands of
my foes." He therefore had them carefully
concealed, and on returning to his capital
after the disastrous battle at Chaldiran, a.h.
5

920 (a.d. 1514), the very first question he put
was: "Is Bihzad still alive?" Furthermore,
we are told that the ruler himself was not suf
ficiently wealthy to monopolize the eminent
artist's services, and Bihzad decorated manu
scripts for private individuals. When one of
these volumes was in after years offered for
sale, Jahangir, an Indian emperor (a.d. 1605-
1627), bought it for 3000 gold rupees, which in
our money is equivalent to about $50,000!
Bihzad was a master of harmonious color
ing based on accurate observation, and of the
most exquisite refined line, — a line so fine that
the most skilful of living workmen could
never hope to equal it with modern tools. His
portraits hold their own with the finest of Hol-
beins, and we are fortunate to find a number
of authentic works by him in the great public
libraries. These justify the claim of enthusi
asts, that almost all contemporary European
work seems crude and feeble in comparison
with them. Bihzad's pupils, Mirak and the
Sultan Muhammad, are his only rivals, and it
is interesting to compare their work with such
a portrait as the interesting little Bellini
owned by Mrs. Gardner of Boston.
The superb simplicity of the early masters
just mentioned, their unfailing sense of pro
portion and dignity, could not be maintained
6

forever, and in the course of time, during the
reign of Shah 'Abbas, degenerated into ex
travagance and luxurious over-decoration.
The art of this period was, however, until quite
recently most highly esteemed, and Riza, the
court painter, was the master most familiar to
Europeans. All his weaknesses are found ac
centuated in the work of his innumerable fol
lowers, but simultaneously with the decline
of the art in Persia there was a wonderful
Renaissance at the court of the Indian moguls.
The schools which were established in India
in the sixteenth century under the Sultan Ba-
bar and his grandson Akbar (1556-1605) es
tablished sound traditions which continued
far into the eighteenth century.
It is not, however, our intention to go any
further into the history of the art or to cata
logue the names of the artists. Very few can
lay claim to the expert knowledge necessary
to explain such art in relation to the national
feeling and the ideals which it expresses, but
we can all sincerely enjoy the works them
selves from an unlearned Occidental point of
view. Martin Birnbaum.

NOTES BY
R. Meyer-Riefstahl
Miniatures on single sheets, surrounded by rich bor
ders, were intended to be mounted in albums or
served as illustrations to manuscripts in which spaces
were left for the purpose by the calligrapher. The
subjects admitting of such illustration were, how
ever, strictly limited. We find, in the first place,
manuscripts of a scientific or technical nature, such
as the "Dioscorides," the Treatise on Mechanical
Appliances, the Cosmography of Kaswini, and astro
nomical books. Among purely literary works the
following Persian books are the most frequently il
lustrated: the Shah Namah, the great Persian Epic
or Royal Book; the five poems, or Khamsah of Ni-
zami, and the works of Saadi, Hafiz, and Djami.
Among Arabian texts we often meet with the Maka-
met of Hariri. In India the history of Djingiz-Khan
and of Tamerlain, the Memoirs of Babar, and, at the
time of Akbar, purely Indian material, such as the
Mahabarata translated into Persian, gave ample
scope for illustration.

Papyrus and parchment were the materials used for
writing upon, in the most remote times. Arabian
documents written on papyrus belong to the greatest
8

rarities. Texts written on parchment are only a trifle
less rare. The exhibition contains two specimens.
The date of the introduction of paper into Asia Minor
is easily established. The Chinese were beaten by
the army of the Caliph at Kangli in 751. Some China
men conversant with the art of paper-making were
among the prisoners, and, being transported to Sa-
marcand, introduced the art there. Even to-day the
paper made in this town is very highly prized. As a
rule, before using this paper it was first polished with
an agate ball, which explains the curiously glossy
surface. From the sixteenth century onward, Eu
ropean papers, notably Italian — easily recognized by
their different water-marks — were employed after
being treated in the same fashion. Frequently the
calligrapher used colored paper, occasionally bespat
tered with gold-dust.

The art of the calligrapher was even more highly
valued in the East than that of the painter, and the
various types of writing can easily be distinguished
by students. Cufic writing — thus named after the
ancient town of Cuf a — is characteristic of the earliest
periods, and was in later times used exclusively for
decorative purposes. Neshki is the writing used dur
ing the Middle Ages, and was preferred for religious
texts. Tsuluts, somewhat related to Neshki, though
broader and more dignified, is the writing most fre
quently employed in the magnificently decorated
Korans of important dimensions. Nastalik, still em
ployed to-day, was invented by Mir Ali of Tebriz in
the reign of Tamerlain, and was the elegant writing
of the Classic period. 9

The art of the bookbinder has at all times played an
important part in the East. The typical bookbinding
consisted of the two backs and a flap. The oldest
bindings were extremely tasteful in their simplicity.
They are, as a rule, decorated with blind-tooling and
small silver and gold rosettes united by a geometrical
design. Later, during the Timurid period, carved
leather bindings appeared, which, in the course of
the sixteenth century, were replaced by pressed ones
made with camel leather dies. Finally, in the seven
teenth and eighteenth centuries, we find the lacquer
bindings, which were more easily made.

BIBLIOGRAPHICAL NOTE
These following books contain ample illustrated material,
and important bibliographies, for a further study of the
subject:GASTON MIGE0N: Manuel d'Art Musulman, Vol. II. Paris,
1907. Alphonse Picard et Fils.
F. R. MARTIN: The Painting and Painters of Persia, India,
and Turkey from the Eighth to the Eighteenth Century.
2 vols. London, 1912. (The leading English authority.)
F. SARRE and F. R. MARTIN: Ausstellung der Meisterwerke
Muhammedanischer Kunst. 3 vols. Munich, 1912.
MARTEAU-VEVER: L'Exposition de Miniatures Persanes au
Musee des Arts Decoratifs, 1912. 2 vols. Paris, Biblio-
theque d'Art et d'Archeologie.
CLEMENT HUART: Les Calligraphes et les Miniaturistes de
VOrient Musulman. (Paris. Leroux, editeur.)

10

CATALOGUE
PRIMITIVE PERIOD
1. Automaton from a Manuscript Treatise on Me
chanical Appliances. Egypt, end of the twelfth
century. Lent by R. Meyer-Riefstahl, Paris.
(This is one of the oldest known manu
scripts with miniatures. Some pages of
it are reproduced in the catalogue of the
Muhammadan exhibition held in Munich,
and in the works by F. R. Martin and
Marteau-Vever mentioned in the biblio
graphical note.)
2. An Automaton from the above Manuscript.
Lent by Hervey E. Wetzel, Esq., Boston.
3. A Mechanical Appliance from the above Manu
script.
4. Mechanical Appliance from the above Manu
script.
5. A Plant from the Third Book of Dioscorides.
Mesopotamia, dated 1222.
(The famous manuscript to which the
items 5, 6, and 7 belong is dated 1222 a.d.
It was written and painted by the master
Abdallah ibn al-Fadl, one of the oldest
Oriental painters whose name has come
11

down to us. The date was assigned at
the time of the exhibition of Muham-
madan art in Munich, and pages of the
manuscript are reproduced in all the im
portant works.)
6. Plant with Three Birds from the above Manu
script. There is another plant on the reverse.
Lent by R. Meyer-Riefstahl, Paris.
7. Plant with Two Birds from the above Manu
script. Another plant on the reverse.
8. Mongolian Personage, Vase, and Flowers from
a Khalila ed Dimna (History of Persia) . Persia,
dated 1236. Lent by Claude Anet, Paris.
(This page and the one following are
taken from an interesting manuscript
which was shown at the exhibition of
miniatures at the Musee des Arts Decora-
tifs, Paris, 1912.)
9. Monkeys Catching a Bird, from above Manu
script.
10. Vine from a Kaswini (or Qazvini) Natural His
tory. Persia, fourteenth century. Exhibited in
Paris at the Musee des Arts Decoratifs, 1912.
11. Tree from a Kaswini Natural History. Persia,
fourteenth century.
12. Fruit Trees. Two-sided miniature from a cos
mography by Kaswini. [Cf. Marteau-Vever.J
Persia, fourteenth century.
Lent by R. Meyer-Riefstahl, Paris.
12

MONGOL STYLE: PERSIA AND SAMAR-
CAND, FIFTEENTH CENTURY
13. Two Personages. Persia, beginning of fifteenth
century.
14. Princess and Servant. Mongolian style, taken
from a manuscript dated 1417.
Lent by Charles Vignier, Paris.
15. Djinn Fighting with a King on Horseback. Mon
gol style, Persia or Transoxiana, beginning of
the fifteenth century. Lent by R. Meyer-Riefstahl, Paris.
16. Assembly from a Shah Namah. Mongol style,
Persia or Samarcand, early fifteenth century.
17. Siavoush Proving His Innocence by the Trial by
Fire. From a Shah Namah. Persian or Mongol
style, early fifteenth century.
18. A Kneeling Angel in a Blue Robe. Persia, first
half of the fifteenth century. Lent by Claude Anet, Paris.
19. Medjnun Among Animals. Persia, fifteenth cen
tury.
20. The Black Room. Taken from a manuscript of
the Khamsah (the five poems) by Nizami,
miniature illustrating the Haft Peyker (histoire
de Bahram Gour ou les sept pavilions) . Persia,
fifteenth century. Lent by Charles Vignier, Paris.
13

21. The Bed Pavilion. Miniature taken from the
above manuscript. Persia, fifteenth century.
22. A Reception. A king on his throne surrounded
by five attendants. Persia, first half of the fif
teenth century.
23. Two Personages in a Cavern. Mongol style,
Persia, fifteenth century.
24. Two People Conversing. The tree is in the Chi
nese style, Persia, fifteenth century.
25. Men Fishing in a Lake. Mongol style, Persia,
fifteenth century.
26. A Hunter on Horseback Killing a Gazelle. Mon
gol style, Persia, fifteenth century.
27. A Lion Attacking a Tent. From a Khamsah by
Nizami. Mongol style, Persia, fifteenth century.
Lent by Claude Anet, Paris.
28. The Sassanian Emperor Baram-Gour Hunting.
Mongol style, Persia or Transoxiana, fifteenth
century.
29. Love Scene. Mongol style, Persia or Transox
iana, fifteenth century.
30. A Prince and Princess Conversing, Musicians in
Attendance. Mongol style, Samarcand, fifteenth
century. Lent by B. Meyer-Riefstahl, Paris.
31. Three Women in Mongolian Costume. Persia,
fifteenth century. 14

32. Human-headed Dragon. Persia, fifteenth cen
tury.
33. Decorated Page from a Manuscript. Persia, fif
teenth century.
34. Zal under the Windows of Roudabey. Persia,
fifteenth century.
35. Rustam and His Mare Reksh Fighting with a
Dragon. Persia, fifteenth century.
36. Garden Scene. Persia, fifteenth century.
37. Two Birds. Samarcand School, fifteenth cen
tury.
38. A Deer Devouring a Serpent, from a Bestiary.
Persia, fifteenth century.
39. A Donkey (on the reverse a Mule). Persia, fif
teenth century.
40. A Dromedary. Persia, first half of fifteenth cen
tury.
41. Elephant and Rhinoceros from a Bestiary. Per
sia, first half of the fifteenth century.
42. Two Animals from a Bestiary. Persia, first half
of the fifteenth century.
43. A King before a Gateway. Mongol style, Persia,
early fifteenth century. Exhibited, Musee des
Arts Decoratifs, Paris, 1912.
44. Fox and Lion, from the Fables of Bidpai. Per
sia, fifteenth century. 15

45. The Turtle and the Two Ducks. From the same
manuscript as above.
46. The Ox and the Dog. From the same manu
script as above.
47. Rider on a Dromedary — Animals. From the
same manuscript as above.
48. The Hare and the Elephant. From the same
manuscript as above.
49. The Boar and the Fox. From the same manu
script as above.
50. Wild Beasts Devouring a Dromedary. From
the same manuscript as above.
51. Monkeys Lighting a Fire under a Tree. From
the same manuscript as above.
52. Conversation on the Banks of a Stream. Persia,
fifteenth century. Touched up in India in Ak-
bar's time. (There are a considerable number of
manuscripts the styles of which have
been transformed. Manuscripts in the
Mongolian style of the fifteenth century
are known which have been changed in
such a way as to appear to have been
made by Indian artists toward the end of
the sixteenth and during the seventeenth
centuries.)
53. A Prince on His Throne Debating with a Group
of Seated Persons. Mongol style, the figures
partly touched up in India in Akbar's time.
16

54. A Family of Tigers. Mongol style with strong
Chinese influence, originally monochrome.
Transoxiana, fifteenth century.
55. Mystical Scene. (Sixteenth-century border.)
Persia, fifteenth century.
56. Personages, Two of Whom, in Chinese Costume,
are Presenting Gifts to a Prince. Mongol style,
Persia, fifteenth century.

SAFAVID PERIOD,
SLXTEENTH CENTURY
57. Sermon in a Mosque. (Under the influence of
Bihzad.) Persia, toward 1500.
58. Horsemen. School of Agha Mirak. Persia, to
ward 1520.
Lent by Mme. la Marquise de Boisguilbert, Villepreux.
59. Court Scene. School of the Sultan Muhammad.
Persia, about 1520. Lent by R. Meyer-Riefstahl, Paris.
60. Onagre, from a Bestiary. Persia, early sixteenth
century.
61. Dragon by the Renowned Artist Chakouly (Shah
Quli) . [Cf. the Memoirs of Sultan Babar.] Per
sia, early sixteenth century. Lent by Claude Anet, Paris.
17

62. Border 1. Decorated border, painted in gold
and silver, the text written by Mir Ali, the fa
mous Persian calligrapher. Taken from a
manuscript of the Divan of Hafiz. (Two-sided.)
Borders from this manuscript are reproduced
by Martin, Marteau-Vever, and in the Munich
Catalogue. Exhibited in Berlin, 1910; Munich,
1910; Paris, 1912. Persia, beginning of the six
teenth century.
63. Border 2. Another decorated border of the
above manuscript. (Two-sided.)
64. Border 3. Another decorated border of the
above manuscript. (Two-sided.)
65. Man Seated on a Bull. Influence of Bihzad, gri
saille. Persia, early sixteenth century.
66. Ascension of Ali. Persia, beginning of the six
teenth century.
67. Meeting of Two Processions. Persia, beginning
of the sixteenth century.
68. Three Figures. Persia, early sixteenth century.
69. Personage in a Bed Bobe on the Head of a Lion.
Early sixteenth century.
70. Trees, Grisaille with Touches of Color. Early
sixteenth century.
71. Garden Scene. Persia, early sixteenth century.
72. Reception in a Palace. Turkestan, early six
teenth century. Lent by John S. T. Audley, Paris.
18

73. Head of a Demon. Turkestan, early sixteenth
century.
74. Man Astride of an Ostrich. Turkestan, early six
teenth century.
75. Djinn. Turkestan, early sixteenth century.
76. A Besieged Town, from a Shah Namah. Bok
hara, early sixteenth century.
77. Bear, from a Bestiary. Bokhara, early sixteenth
century.
78. Bear and Tapir. (Two-sided.) Bokhara, early
sixteenth century.
79. Mystic Personage in a Boat. Bokhara, early six
teenth century.
80. Burial Scene, from a Shah Namah. Bokhara,
early sixteenth century.
Lent by R. Meyer-Riefstahl, Paris.
81. A Prisoner, from a Shah Namah. Bokhara,
early sixteenth century.
82. A Feast. School of Sultan Muhammad. Bok
hara, first half of the sixteenth century.
83. Standing Dervish. Persia, middle of the six
teenth century.
84. Portrait of a Man in a Purple Bobe. Persia,
middle of the sixteenth century.
85. Rider on a Blue Horse Attacking a Lion. Persia,
second half of the sixteenth century. Exhibited
in the Musee des Arts Decoratifs, Paris, 1912.
19

86. Yussuf Leading His Sheep. From a Yussuf and
Suleika by Djami. Persia, second half of the
sixteenth century.
87. Two Persons Seated in an Orchard. From the
above manuscript.
88. Eagle. Drawing. Shah 'Abbas period. Persia,
second half of the sixteenth century.
89. Portrait of a Young Sultan. Persia or Turkes
tan, late sixteenth century. Lent by Claude Anet, Paris.
90. Woodchopper and Horse. By Riza Abbassi.
Persia, end of the sixteenth century.
Lent by Charles Vignier, Paris.
91. Hunting Scene on Gold Ground. Persia, six
teenth century.
92. Pastoral Scene. Persia, sixteenth century.
93. Figures and Birds. Persia, sixteenth century.
94. Goat Herd. Drawing with touches of color.
Persia, sixteenth century.
95. Fight (Outdoor Scene), with Illuminated Bor
der. Persia, sixteenth century.
96. Outdoor Kitchen, with Illuminated Border. Per
sia, sixteenth century.
97. Young Falconer and Young Girl. Persia, six
teenth century.
98. Elephant and Driver. (Composed of numerous
figures.) Persia, late sixteenth century.
20

99. Palace Scene. Turkestan, late sixteenth century.
100. Scene from the Story of Alexander the Great.
Persia, late sixteenth century.
101. Youth Fastening His Moccasins. Outline draw
ing. Persia, late sixteenth century.
102. A Feast. Persia, late sixteenth century.
103. Pastoral Scene. (Slightly restored.) Persia,
late sixteenth century.
104. The Ascension of Muhammad. Persia, late six
teenth century. Lent by Claude Anet, Paris.
105. Court Celebration. Persia, late sixteenth cen
tury.
106. Scene beneath a Tent. Persia, late sixteenth
century.
107. Various Artisans at Work. Persia, late six
teenth century.
108. Rustam Delivering a Prisoner from beneath the
Ground. From a Shah Namah. Persia, late six
teenth century.
109. King Solomon on His Throne. Surrounded by
Angels, Djinns, Men, and Animals, which, ac
cording to the Oriental Legend, were under His
Command. On his right, the Magpie who served
him as messenger to Balkis, the Queen of Sheba.
Persia, late sixteenth century.
110. Scene from the Bostan of Saadi. Persia, late
sixteenth century. 21

111. Three Personages. School of Riza Abbassi. Sec
ond half of the sixteenth century.
112. Djinn. School of Riza Abbassi. Persia, late six
teenth century. Lent by Dr. Phil. W. Schulz, Berlin.
113. Young Man Seated. Grisaille with touches of
gold. School of Riza Abbassi. Persia, late six
teenth century. Lent by Kirkor Minassian, Paris.
114. Youth Offering a Golden Vase. Influence of
Riza Abbassi. Turkestan, late sixteenth century.
115. Personage in a Mongolian Costume. Persia, six
teenth century.

PERSIA, SEVENTEENTH CENTURY
116. Two Dervishes and a Youth. Drawing of the
time of Shah 'Abbas. Persia, toward 1600.
117. Female Portrait. Attributed to Riza Abbassi.
Persia, toward 1600.
118. Horseman Talking to a Seated Dervish. School
of Riza Abbassi. Persia, early seventeenth cen
tury.
119. Crouching Dervish. Drawing. Persia, School
of Riza Abbassi, seventeenth century.
Lent by Claude Anet, Paris.
22

120. Illustration to the Poems of Hafiz. Riza Abbassi
style. Persia, seventeenth century.
Lent by Dr. Phil. W. Schulz, Berlin.
121. Cupbearer. Time of Shah 'Abbas II. Persia,
seventeenth century.
122. Tulip. Drawing under European influence.
Persia, seventeenth century.
123. Illustration to the Poems of Hafiz. Riza Abbassi
style. Persia, seventeenth century.
124. Standing Dervish, According to the Signature,
made by Hosein Ali for Amriken. Dated 1089
of the Hejira. Persia, seventeenth century.
125. A Kid. Signed Moyn Mozaffer. Persia, seven
teenth century.
126. Persian Dervish. By Moyn Mozaffer. Persia,
seventeenth century.
127. Aged Horse. Drawing. Persia, seventeenth cen
tury.
128. Star-picture. From an astronomical book, based
on a far older model. Persia, seventeenth to
eighteenth centuries.

PERSIA, EIGHTEENTH CENTURY
129. Portrait of a Youth. Persia, eighteenth century.
130. Bunch of Flowers. Persia, eighteenth century.
23

131. Portrait of Khasi Kachan, Who was in the Camp
of Moukhan when Nadir was Elected Shah. Per
sia, eighteenth century.
132. Falcon. Painted on papier-mache. Persia,
eighteenth century. Exhibited at the Muham-
madan exhibition, Munich, 1910.

INDO-PERSIAN ART
133. Birds. India, late sixteenth century.
Lent by Kirkor Minassian, Paris.
134. Fakir Seated Beneath a Three. Outline drawing
to which color was probably added later. India,
late sixteenth century.
135. Two Figures. Youth offering a book to a der
vish. Akbar's time. India, toward 1600.
Lent by C. A. Coomarasvami, London.
136. Reception. India, toward 1600.
137. The Holy Virgin. Akbar's time. India, toward
1600.
138. Portrait of a Man. Influenced by a German
painting of the sixteenth century. India, toward
1600.
139. The Virgin and Child. After a European model.
India, early seventeenth century.
24

140. Peacocks. Painted by Miskeen Ibrahim (an ar
tist of the court of Akbar, Emperor of India).
(Two-sided.) India, early seventeenth century.
Lent by Charles Vignier, Paris.
141. Cranes and Birds. Painted by an artist of the
court of Akbar. (Two-sided.) India, early sev
enteenth century.
142 Palm-tree and Ducks. Painted by Miskeen Ibra
him and Burah, painters of the court of Akbar.
India.
143. Birds. Painted by Mahais, artist at the court of
Akbar. (Two-sided.) India, early seventeenth
century.
144. Camel, Composed of Human Figures and Ani
mals. India, early seventeenth century.
145. A Scene Representing the Dumb Father of St.
John the Baptist Writing the Name of His
Newly-born Son. European influence. The
border is Persian, sixteenth-century work. Ak
bar's time. India, toward 1600.
Lent by Charles Nordlinger, Calcutta.
146. Scene from the Mahabarata. India, toward 1600.
147. Scene from the Mahabarata. India, toward 1600.
148. Scene from the Mahabarata. India, toward 1600.
149. Scene from the Mahabarata. India, toward 1600.
150. Scene from the Mahabarata. India, toward 1600.
151. Scene from the Mahabarata. India, toward 1600.
25

152. Scene from the Mahabarata. India, toward 1600.
153. Scene from the Mahabarata. India, toward 1600.
154. Scene from the Mahabarata. India, toward 1600.
155. Scene from the Mahabarata. India, toward 1600.
156. Scene from the Mahabarata. India, toward 1600.
157. Scene from the Mahabarata. India, toward 1600.
158. Scene from the Mahabarata. India, toward 1600.
Lent by K. Heeramanek, Esq., Bombay.
159. Scene from the Mahabarata. India, toward 1600.
160. Scene from the Mahabarata. India, toward 1600.
Lent by K. Heeramanek, Esq., Bombay.
161. Scene from the Mahabarata. India, toward 1600.
162. Scene from the Mahabarata. India, toward 1600.
163. Scene from the Mahabarata. India, toward 1600.
164. Scene from the Mahabarata. India, toward 1600.
165. Prince on a Throne. India, seventeenth century.
166. Portrait of a Rajah. India, seventeenth century.
Lent by Claude Anet, Paris.
167. Portrait Group. India, toward 1640.
Lent by R. Meyer-Riefstahl, Paris.
168. Portrait of a Rajah — Green Costume — Green
Background. India, middle of the seventeenth
century.
169. Rajah in a White Robe. India, middle of the
seventeenth century. 26

170. Portrait in Grisaille. India, first half of the sev
enteenth century.
171. Portrait in Grisaille. India, first half of the sev
enteenth century.
172. Two Dervishes. India, early seventeenth cen
tury.
173. Portrait of a Man with a Shield. India, early
seventeenth century. Lent by John S. T. Audley, Paris.
174. Portrait of a Painter with a Green Turban. In
dia, early seventeenth century.
175. Hindoo Prince Surrounded by His Suite. India,
early seventeenth century.
176. Seated Prince Surrounded by Three Women.
India, early seventeenth century.
177. Shah Jehan as a Youth Being Instructed in the
Wisdom of a Soufy (Sage). India, early seven
teenth century. Lent by Claude Anet, Paris.
178. The Emperor Akbar Killing a Lion with a Club.
On the right, below, two men in European cos
tume. India, early seventeenth century.
179. Falconer in a Golden Robe. India, early seven
teenth century.
180. Portrait of Saru-Tabhi. India, early seven
teenth century. Exhibited in the Musee des Arts
Decoratifs, Paris, 1912.
Lent by R. Meyer-Riefstahl, Paris.
27

181. A Woman Reclining, Two Persons near by. Un
finished. India, early seventeenth century.
182. A Prince Kneeling between Two Cypresses. In
dia, seventeenth century.
183. Decorative Page. India, seventeenth century.
184. Portrait of a Seated Man Arrayed in White. In
dia, second half of the seventeenth century.
185. Two Birds. India, seventeenth century.
186. Woman on a Hillock. India, seventeenth cen
tury.
187. Women Carrying Amphoras. India, seventeenth
century.
188. Portrait of Shah Abbas II. India, seventeenth
century. (The signature on the right can be read:
Ghulam Zade-Ye Shah Abbas Sani (Ghu-
lam slave of Shah Abbas II.) The left-
hand signature says: Made at Mesched.)
189. Small Portrait. India, seventeenth century.
190. Two Ducks. India, seventeenth century.
191. Perching Falcon. India, seventeenth century.
192. A Bird. India, seventeenth century.
193. Portrait of Aureng-Zeb, Emperor of India. In
dia, seventeenth century.
Lent by Charles Nordlinger, Calcutta.
194. Young Falconer. India, beginning of the seven
teenth century. 28

195. Man in Red Bearing a Fruit. India, second half
of the seventeenth century.
196. Hunting Scene. India, late seventeenth century.
197. Medjnun and Leila. India, late seventeenth cen
tury.
198. Portrait of Alem Ghir Shah. India, seventeenth
century.
199. Portrait of Shah Saladin. India, seventeenth
century.
200. Bird Composed of Calligraphy. India, seven
teenth century.
201. Youth with a Falcon. Influenced by the Bokhara
School. India, seventeenth century.
202. Female Portrait. India, late seventeenth cen
tury.
203. Female Head. India, seventeenth century.
204. Female Head. India, seventeenth century.
205. Winged Angel Carrying a Peacock. (Subject
frequently met with on sixteenth-century Per
sian rugs.) India, late seventeenth century.
206. Seated Woman. India, late seventeenth century.
207. Indian Woman. India, late seventeenth century.
208. The "Holi" Festival. (In the center, the God
Krishna and His Wife Radha.) Unfinished. In
dia, late seventeenth century.
209. Portrait Group. About 1700.
29

210. White Falcon. India, eighteenth century.
211. Black Horse with Red Saddle. Probably Turk
ish, about 1600.
(Similar subjects are to be found in the
celebrated album of the Imperial collec
tion at Yildiz-Kiosk [Cf. Muhammedani-
sche Ausstellung.Munchen, Volume I, Plate
6].)
212. Turkish Camp. On the right, below, a sultan;
above, a battle; on the right, janissaries.
Turkey, toward 1600.

MANUSCRIPTS AND BOOKBINDINGS
213. Manuscript of the Khamsah by Nizami. Talik
writing, twenty-six miniatures. Persia, dated
1507 and 1527 a.d. Written by Mohammed Kami
for Mirsa Mohammed Naki of Isfahan. Binding
of later period. Exhibited in Munich, 1910;
Paris, 1912. Miniature reproduced in Marteau-
Vever.
214. Cufic Manuscript on Vellum. Egypt, ninth cen
tury. Fragment of a Koran (very rare).
215. Fragment of a Manuscript of a Koran in Cufic
Writing. Egypt, ninth century.
216. Koran, Neshki Writing, Richly Decorated. Dated
Constantinople, 1721. Written by Hadji Ahmed,
one of the janissaries of the palace. Excellent
Turkish book cover (dark red and gold). Ex
hibited in Berlin, 1910, in the Arts and Crafts
Museum. 30

217. Manuscript of Yussuf and Suleika by Hamdi.
Turkey, beginning of the sixteenth century. Five
miniatures. Written by the calligrapher Mah-
mud. Munich Mohammedan exhibition.
218. Big Book Cover for a Koran. Pressed and gilded
leather; inscriptions. Turkey, sixteenth century.
219. Small Book Cover. Same style as above.
220. Book Cover. Black leather, medallions with
animals. Persia, beginning of the sixteenth cen
tury.
221. Arab Bookbinding. With flap. Leather, natural
color. Egypt, fourtenth century.
222. Arab Bookbinding. Geometrical pattern.
Leather, natural color. Egypt, fourteenth cen
tury.
223. Part of a Koran Manuscript. Persia, sixteenth
century.

31