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The lynx considers natural brutality and divine retribution, from Lights of Canopus (Anvar-i Suhayli) by Husayn Va`izi Kashifi

İsim	The lynx considers natural brutality and divine retribution, from Lights of Canopus (Anvar-i Suhayli) by Husayn Va`izi Kashifi
Basım Tarihi:	c. 1595
Tür	Belge
Dil	Farsça
Dijital	Evet
Yazma	Evet
Fiziksel Boyutlar	198 mm x 126 mm (height x width)
Kütüphane:	Chester Beatty
Kayıt Numarası	In 04.64
Lokasyon	Indian collection
Tarih	c. 1595
Notlar	The lynx considers natural brutality and divine retribution, folio from Lights of Canopus (Anvar-i Suhayli), a reworking of the animal fables Kalila and Dimna (Kalila wa Dimna), composed by Husayn Va`izi Kashifi. These two paintings follow the observations of a peaceful-minded lynx, who has withdrawn from the lion's court in disappointment at his king's violent brutality. Retiring to the desert, he observes a long sequence of violence in nature, in which brutality is met with greater brutality. He notices a leopard killing a dog, and how the leopard in turn is shot by a hunter, who skins the leopard - before he too is killed by a thief, who rides away with the leopardskin (all on recto). On the next page, the lynx watches as the murderer's horse stumbles and throws him to the ground, killing him (on verso). This fatal accident, the lynx concludes, is divine retribution for the whole brutal sequence. This folio is from a copy of a highly-regarded Persian text, written by Husayn Va`izi Kashifi (d.1504-05), a preacher and scholar at the Timurid court in Herat (modern Afghanistan). His patron was Amir Shaykh Suhayli, whose last name is punningly inserted into the new title. Writing in a sophisticated court style, Kashifi composed an updated version of these lively animal fables, which have a long transmission history going back to Persian, Arabic and Sanskrit texts. This manuscript was made in Mughal India, and features 96 paintings (mounted separately). Detached folio, ink, gold and colours on paper, Persian text in nasta`liq script, two paintings (on recto and verso), from partial copy of Lights of Canopus (Anvar-i Suhayli) by Husayn Va`izi Kashifi (d.1504-5), painting inscribed Shankar Gujarati (recto) and Nand Gwaliori (verso), Agra, India, c. 1595-1600.
Materyal	Paper (material), Pigment (material), Ink (material), Gold
Nesne Adı	Folio / Bi-Folio (Codex)
Yazı Tipi	Nasta'liq script

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Chester Beatty

The lynx considers natural brutality and divine retribution, from Lights of Canopus (Anvar-i Suhayli) by Husayn Va`izi Kashifi

Basım Tarihi c. 1595

Tür Belge

Dil Farsça

Dijital Evet

Yazma Evet

Fiziksel Boyutlar 198 mm x 126 mm (height x width)

Kütüphane Chester Beatty

Kayıt Numarası In 04.64

Lokasyon Indian collection

Tarih c. 1595

Notlar The lynx considers natural brutality and divine retribution, folio from Lights of Canopus (Anvar-i Suhayli), a reworking of the animal fables Kalila and Dimna (Kalila wa Dimna), composed by Husayn Va`izi Kashifi. These two paintings follow the observations of a peaceful-minded lynx, who has withdrawn from the lion's court in disappointment at his king's violent brutality. Retiring to the desert, he observes a long sequence of violence in nature, in which brutality is met with greater brutality. He notices a leopard killing a dog, and how the leopard in turn is shot by a hunter, who skins the leopard - before he too is killed by a thief, who rides away with the leopardskin (all on recto). On the next page, the lynx watches as the murderer's horse stumbles and throws him to the ground, killing him (on verso). This fatal accident, the lynx concludes, is divine retribution for the whole brutal sequence. This folio is from a copy of a highly-regarded Persian text, written by Husayn Va`izi Kashifi (d.1504-05), a preacher and scholar at the Timurid court in Herat (modern Afghanistan). His patron was Amir Shaykh Suhayli, whose last name is punningly inserted into the new title. Writing in a sophisticated court style, Kashifi composed an updated version of these lively animal fables, which have a long transmission history going back to Persian, Arabic and Sanskrit texts. This manuscript was made in Mughal India, and features 96 paintings (mounted separately). Detached folio, ink, gold and colours on paper, Persian text in nasta`liq script, two paintings (on recto and verso), from partial copy of Lights of Canopus (Anvar-i Suhayli) by Husayn Va`izi Kashifi (d.1504-5), painting inscribed Shankar Gujarati (recto) and Nand Gwaliori (verso), Agra, India, c. 1595-1600.

Materyal Paper (material), Pigment (material), Ink (material), Gold

Nesne Adı Folio / Bi-Folio (Codex)

Yazı Tipi Nasta'liq script