Shahnama

Name: Shahnama
Author: Firdausi

İsim	Shahnama
Yazar	Firdausi
Tür	Belge
Dil	Farsça
Dijital	Evet
Yazma	Evet
Sayfa Sayısı	13
Fiziksel Boyutlar	460 ff. Codex. Complete.
Kütüphane:	Cambridge Dijital Kütüphanesi
Kayıt Numarası	MS-PARISBNF-PERSAN-00228
Lokasyon	Bibliotheque Nationale de France — Bibliotheque Nationale de France Persan 228
Tarih	Gregorian: 1490/Hcd/Aug/17. Hijri: 0895/Ram/22.-1490-1490
Notlar	The ms. opens with the prose introduction in Baysunqur version, ff.2v-7r, incipit: ... an bih ki kunand... The very first words are missing because the unvan with a fragment of the text was torn off. A second sarlauh (f. 7v) at the start of the poem is of a very refined hand, delicate and very pretty, of an excellent lapis colour, "in a slightly archaising style" (Richard, p. 113).The naskh handwriting is neither careful nor beautiful and quite hard to read. A later hand has added titles in large nasta'liq in the margins; throughout the ms., there are many marginal additions (F.A.).The origin of the ms. is uncertain. Stchoukine, following the unpublished notes of Robinson, concluded it was a "provincial" production; the calligrapher's nisba, Balyani, indicates that he was from Shiraz province, probably Kazarun, without this being decisive. Fr. Richard defines it as Turkman, thus by period rather than by place of production. There are currently no images available for this ms.BibliographyE. Blochet, Catalogue des manuscrits persans, vol. III, no. 1164I. Stchoukine. Les peintures des mannuscrits Timurides, Paris, 1954, p. 62, no. LIIF. Richard, Catalogue des manuscrits persans: t. 1, Anciens fonds, Paris, 1989, pp. 235-6F. Richard, Les Splendeurs persanes, Paris, 1997, p. 113Link to the digitised manuscript: https://gallica.bnf.fr/ark:/12148/btv1b8406159w
Bibliyografya	Richard, F., Les Splendeurs persanes. Manuscrits du XIIe au XVIIe siècle, Paris, 1997.Sims, E., 'The illustrated manuscripts of Firdausi's Shahnama commissioned by princes of the house of Timur'. Ars Orientalis 22 (1993), 43-68.Norgren, J. & Davis, E., Preliminary index of Shah-nameh illustrations, Ann Arbor, 1969.
Süsleme	Faridun tests his sonsFolio number: 021vNotes: The rubric on f.21r is "Nam nihadan-i Faridun pisaran va zanan bar an". Girls in yellow, light and dark lilac are standing, boys are sitting on stools, the king is sitting on his throne - a plain air scene. The ground is white covered with wreathes of pink and orange flowers. Paints are missing in places; the white of the ground and parts of the orange pigment have started to oxidize. Faces were perhaps spoiled intentionally but not severely with a sharp tool (there are white dots of missing paint). (F.A.) This picture comes in the passage where Faridun is testing his sons.Location in text:Mohl 6, Faridun (500 years), first line: 270, break line before: 271, break line after: 277.0, last line: 299.Rustam kills Qalun (?)Scene Title:Qarin fights ShamasasFolio number: 062vNotes: The white of the ground has oxidized; the white paint is very thick and shiny and mostly cracked. The painting contains a flag with multicoloured ribbons of an interesting design (F.A.).Location in text:Mohl 11, Kay Qubad (100 years), first line: 7, break line before: None, break line after: None, last line: 24.Siyavush marries FarangisFolio number: 094rNotes: Illustrated in Fr. Richard, Les Splendeurs persanes, p. 113.Location in text:Mohl 12d, Siyavush, first line: 1619, break line before: 1644, break line after: 1645.0, last line: None.Rustam discovers Suhrab's identityFolio number: 104vNotes: A very symmetrical composition: Rustam and Suhrab are both sitting; their horses stand aside. On both sides of the hill there are two spectators: even their age is symmetrically reproduced - one young and one older (with moustache) on both sides. On the side of Rustam both men have their white turbans with a coquettish piece of cloth hanging down, while two others are more modest. Suhrab wears a crown and is bigger than Rustam. The symmetry of the composition is underlined by a Chinese pink and white cloud hanging right over the centre of the hill (F.A.).Location in text:Mohl 12c, Suhrab, first line: None, break line before: 1151, break line after: 1152.0, last line: 1167.The eleventh combat: Gudarz fights PiranFolio number: 152vNotes: Piran and Gudarz, both gray bearded, fight on the right hand side; one warrior holds a prisoner by a cord tied round his neck. Two young men lie dead and badly wounded. There are the same characteristic colourful flags, and same Chinese cloud in the middle, as in the previous painting.The text differs substantially from the standard editions (F.A.).Location in text:Mohl 13f, The Twelve Rukhs, first line: None, break line before: None, break line after: None, last line: None.Kay Khusrau fights ShidaFolio number: 166vNotes: A symmetrically organized scene: Kay Khusrau with Shida on his shoulders in the centre, their horses on both sides, two groups of two men (young and an older one) are watching from behind the hill. They have a very good moustache (retouched later?). The light green of the ground has started to oxidize (F.A.).Location in text:Mohl 13g, The Great War between Kay Khusrau and Afrasiyab, first line: 682, break line before: 683, break line after: 694.0, last line: None.Kay Khusrau slays Afrasiyab, the executioner slays GarsivazScene Title:The execution of GarsivazFolio number: 187vNotes: Kay Khusrau (on the right) and his executioner (on the left) are killing Afrasiyab and Garsivaz respectively on either side of the painting. The tree in the middle of the foreground stresses the centre. Two young spectators are watching only from the right corner of the hill.Two sprays of blood fountain from the cut neck of Afrasiyab. Paints are missing in places. Garsivaz has perhaps been defaced intentionally. No-one in the picture has a beard, all wear moustaches (F.A.).Location in text:Mohl 13g, The Great War between Kay Khusrau and Afrasiyab, first line: 2404, break line before: 2421, break line after: 2422.0, last line: None.Rustam boasts again of his lineageFolio number: 242vNotes: Rustam in his full outfit, a luxurious long pink feather hanging from the top of his leopard helmet, is sitting on a round stool, Isfandiyar in a long orange and blue gown and white turban sits on the carpet. They both have nice moustaches, and Rustam a beard. One older (moustached) courtier in a Chinese hat holds a younger one's shoulder. A single white Chinese cloud is floating in the sky. One of the courtiers plays a harp (F.A.).Location in text:Mohl 15, Gushtasp (120 years), first line: 3008, break line before: None, break line after: None, last line: None.Rustam shoots Isfandiyar in the eyes with a double-pointed arrowFolio number: 254rNotes: The painting is perhaps by another hand: Rustam's costume has slight peculiarities in depiction; the ground is unusually (for this manuscript) pink, its edge on the horizon is decorated with a dotted outline, resembling the famous "sea weed" technique. But the composition is also very symmetric, emphasised by the two colourful flags at the top corners, which both wave towards the centre (so that one is against the wind) (F.A.).Location in text:Mohl 15, Gushtasp (120 years), first line: None, break line before: 3784, break line after: None, last line: 3793.Queen Qaydafa shows Iskandar his portraitScene Title:Iskandar visits Qaydafa disguised as a messengerFolio number: 282rNotes: Qaydafa does not look like a woman; she is sitting on a throne decorated with textiles, in her yellow dress with a scarlet mantle with white fur lining. Her crown has a black feather. Iskandar is sitting on a round gold stool, disguised as a merchant in a blue and red Chinese hat and long lilac coat. He is holding his portrait, where he is depicted in orange and green with gold hat. The green of the ground oxidized (F.A.).Location in text:Mohl 20, Iskandar (14 years), first line: 853, break line before: 868, break line after: 869.0, last line: 879.Bahram Gur snatches the crown from between two lionsScene Title:Bahram Gur fights two lions to win the throneFolio number: 322rNotes: The composition is balanced but not so obviously symmetric: the centre is occupied by a wonderfully decorated throne - rectangular with gold and green borders. The inside space is covered with bright yellow patterned cloth, the steps are decorated with an orange textile. In the middle of the throne there is big crown: gold with a white top and a black feather. Bahram's turban is very unusual in colour: red, blue, gold and black. The faces of the male figures (5 altogether) are very good, especially the eyes, eyebrows and moustaches. One lion is already dead, another is being killed by Bahram. The white has started to oxidize (F.A.).Location in text:Mohl 34, Yazdagird the Sinner (21 years), first line: 654, break line before: 678, break line after: 679.0, last line: 680.Sample pageFolio number: 046vColophonFolio number: 460r
Mizanpaj	4 columns. 29 rows. Leaf height: 350 mm, width: 240 mm. Written height: 266 mm, width: 170 mm.
Menşei Yeri	Turkman style/Iran,provincial
Köken (Provenance)	Bought for the Bibliotheque du roi in 1729-30 in Constantinople by abbe Francois Sevin for 29 "piastres" (f.1r a stamp of Biblitheca Regie)
Müstensih(ler)	Darvish Fakhr ad-Din 'Ali b. Khwaja Jamal ad-Din Husayn b. Khwaja Fakhr ad-Din 'Ali Balyanii al-Murshidi, known as Shahnama-khwan
Yazı Tipi	Cursive Naskh. Calligrapher: Darvish Fakhr ad-Din 'Ali b. Khwaja Jamal ad-Din Husayn b. Khwaja Fakhr ad-Din 'Ali Balyanii al-Murshidi, known as Shahnama-khwan.
Yüzyıl 1	1400s C.E.
Oluşturma Tarihi (Bağlantı Türü)	keyword search
Oluşturma Türü	creation
Yıl (Bitiş)	1490
Yıl (Başlangıç)	1490
Görüntü Hakları (Görüntüleme)	Zooming image © Bibliotheque nationale de France.
Görüntü Hakları (İndirme)	Images made available for download are licensed under a Creative Commons Attribution-NonCommercial 4.0 Unported License (CC BY-NC 4.0)
Dil Kodu 1	per
Dil 1	Persian
Metadata Hakları	This metadata is licensed under a Creative Commons Attribution-NonCommercial 4.0 Unported License.
Küçük Resim Yönü	portrait
Filigran Beyanı	© Bibliotheque nationale de France (CC BY-NC 4.0)

Kaynağa git Cambridge Dijital Kütüphanesi Cambridge Digital Library

Aramaya Dön

Cambridge Dijital Kütüphanesi

Kaynağa git

Shahnama

Yazar Firdausi

Tür Belge

Dil Farsça

Dijital Evet

Yazma Evet

Sayfa Sayısı 13

Fiziksel Boyutlar 460 ff. Codex. Complete.

Kütüphane Cambridge Dijital Kütüphanesi

Kayıt Numarası MS-PARISBNF-PERSAN-00228

Lokasyon Bibliotheque Nationale de France — Bibliotheque Nationale de France Persan 228

Tarih Gregorian: 1490/Hcd/Aug/17. Hijri: 0895/Ram/22.-1490-1490

Notlar The ms. opens with the prose introduction in Baysunqur version, ff.2v-7r, incipit: ... an bih ki kunand... The very first words are missing because the unvan with a fragment of the text was torn off. A second sarlauh (f. 7v) at the start of the poem is of a very refined hand, delicate and very pretty, of an excellent lapis colour, "in a slightly archaising style" (Richard, p. 113).The naskh handwriting is neither careful nor beautiful and quite hard to read. A later hand has added titles in large nasta'liq in the margins; throughout the ms., there are many marginal additions (F.A.).The origin of the ms. is uncertain. Stchoukine, following the unpublished notes of Robinson, concluded it was a "provincial" production; the calligrapher's nisba, Balyani, indicates that he was from Shiraz province, probably Kazarun, without this being decisive. Fr. Richard defines it as Turkman, thus by period rather than by place of production. There are currently no images available for this ms.BibliographyE. Blochet, Catalogue des manuscrits persans, vol. III, no. 1164I. Stchoukine. Les peintures des mannuscrits Timurides, Paris, 1954, p. 62, no. LIIF. Richard, Catalogue des manuscrits persans: t. 1, Anciens fonds, Paris, 1989, pp. 235-6F. Richard, Les Splendeurs persanes, Paris, 1997, p. 113Link to the digitised manuscript: https://gallica.bnf.fr/ark:/12148/btv1b8406159w

Bibliyografya Richard, F., Les Splendeurs persanes. Manuscrits du XIIe au XVIIe siècle, Paris, 1997.Sims, E., 'The illustrated manuscripts of Firdausi's Shahnama commissioned by princes of the house of Timur'. Ars Orientalis 22 (1993), 43-68.Norgren, J. & Davis, E., Preliminary index of Shah-nameh illustrations, Ann Arbor, 1969.

Süsleme Faridun tests his sonsFolio number: 021vNotes: The rubric on f.21r is "Nam nihadan-i Faridun pisaran va zanan bar an". Girls in yellow, light and dark lilac are standing, boys are sitting on stools, the king is sitting on his throne - a plain air scene. The ground is white covered with wreathes of pink and orange flowers. Paints are missing in places; the white of the ground and parts of the orange pigment have started to oxidize. Faces were perhaps spoiled intentionally but not severely with a sharp tool (there are white dots of missing paint). (F.A.) This picture comes in the passage where Faridun is testing his sons.Location in text:Mohl 6, Faridun (500 years), first line: 270, break line before: 271, break line after: 277.0, last line: 299.Rustam kills Qalun (?)Scene Title:Qarin fights ShamasasFolio number: 062vNotes: The white of the ground has oxidized; the white paint is very thick and shiny and mostly cracked. The painting contains a flag with multicoloured ribbons of an interesting design (F.A.).Location in text:Mohl 11, Kay Qubad (100 years), first line: 7, break line before: None, break line after: None, last line: 24.Siyavush marries FarangisFolio number: 094rNotes: Illustrated in Fr. Richard, Les Splendeurs persanes, p. 113.Location in text:Mohl 12d, Siyavush, first line: 1619, break line before: 1644, break line after: 1645.0, last line: None.Rustam discovers Suhrab's identityFolio number: 104vNotes: A very symmetrical composition: Rustam and Suhrab are both sitting; their horses stand aside. On both sides of the hill there are two spectators: even their age is symmetrically reproduced - one young and one older (with moustache) on both sides. On the side of Rustam both men have their white turbans with a coquettish piece of cloth hanging down, while two others are more modest. Suhrab wears a crown and is bigger than Rustam. The symmetry of the composition is underlined by a Chinese pink and white cloud hanging right over the centre of the hill (F.A.).Location in text:Mohl 12c, Suhrab, first line: None, break line before: 1151, break line after: 1152.0, last line: 1167.The eleventh combat: Gudarz fights PiranFolio number: 152vNotes: Piran and Gudarz, both gray bearded, fight on the right hand side; one warrior holds a prisoner by a cord tied round his neck. Two young men lie dead and badly wounded. There are the same characteristic colourful flags, and same Chinese cloud in the middle, as in the previous painting.The text differs substantially from the standard editions (F.A.).Location in text:Mohl 13f, The Twelve Rukhs, first line: None, break line before: None, break line after: None, last line: None.Kay Khusrau fights ShidaFolio number: 166vNotes: A symmetrically organized scene: Kay Khusrau with Shida on his shoulders in the centre, their horses on both sides, two groups of two men (young and an older one) are watching from behind the hill. They have a very good moustache (retouched later?). The light green of the ground has started to oxidize (F.A.).Location in text:Mohl 13g, The Great War between Kay Khusrau and Afrasiyab, first line: 682, break line before: 683, break line after: 694.0, last line: None.Kay Khusrau slays Afrasiyab, the executioner slays GarsivazScene Title:The execution of GarsivazFolio number: 187vNotes: Kay Khusrau (on the right) and his executioner (on the left) are killing Afrasiyab and Garsivaz respectively on either side of the painting. The tree in the middle of the foreground stresses the centre. Two young spectators are watching only from the right corner of the hill.Two sprays of blood fountain from the cut neck of Afrasiyab. Paints are missing in places. Garsivaz has perhaps been defaced intentionally. No-one in the picture has a beard, all wear moustaches (F.A.).Location in text:Mohl 13g, The Great War between Kay Khusrau and Afrasiyab, first line: 2404, break line before: 2421, break line after: 2422.0, last line: None.Rustam boasts again of his lineageFolio number: 242vNotes: Rustam in his full outfit, a luxurious long pink feather hanging from the top of his leopard helmet, is sitting on a round stool, Isfandiyar in a long orange and blue gown and white turban sits on the carpet. They both have nice moustaches, and Rustam a beard. One older (moustached) courtier in a Chinese hat holds a younger one's shoulder. A single white Chinese cloud is floating in the sky. One of the courtiers plays a harp (F.A.).Location in text:Mohl 15, Gushtasp (120 years), first line: 3008, break line before: None, break line after: None, last line: None.Rustam shoots Isfandiyar in the eyes with a double-pointed arrowFolio number: 254rNotes: The painting is perhaps by another hand: Rustam's costume has slight peculiarities in depiction; the ground is unusually (for this manuscript) pink, its edge on the horizon is decorated with a dotted outline, resembling the famous "sea weed" technique. But the composition is also very symmetric, emphasised by the two colourful flags at the top corners, which both wave towards the centre (so that one is against the wind) (F.A.).Location in text:Mohl 15, Gushtasp (120 years), first line: None, break line before: 3784, break line after: None, last line: 3793.Queen Qaydafa shows Iskandar his portraitScene Title:Iskandar visits Qaydafa disguised as a messengerFolio number: 282rNotes: Qaydafa does not look like a woman; she is sitting on a throne decorated with textiles, in her yellow dress with a scarlet mantle with white fur lining. Her crown has a black feather. Iskandar is sitting on a round gold stool, disguised as a merchant in a blue and red Chinese hat and long lilac coat. He is holding his portrait, where he is depicted in orange and green with gold hat. The green of the ground oxidized (F.A.).Location in text:Mohl 20, Iskandar (14 years), first line: 853, break line before: 868, break line after: 869.0, last line: 879.Bahram Gur snatches the crown from between two lionsScene Title:Bahram Gur fights two lions to win the throneFolio number: 322rNotes: The composition is balanced but not so obviously symmetric: the centre is occupied by a wonderfully decorated throne - rectangular with gold and green borders. The inside space is covered with bright yellow patterned cloth, the steps are decorated with an orange textile. In the middle of the throne there is big crown: gold with a white top and a black feather. Bahram's turban is very unusual in colour: red, blue, gold and black. The faces of the male figures (5 altogether) are very good, especially the eyes, eyebrows and moustaches. One lion is already dead, another is being killed by Bahram. The white has started to oxidize (F.A.).Location in text:Mohl 34, Yazdagird the Sinner (21 years), first line: 654, break line before: 678, break line after: 679.0, last line: 680.Sample pageFolio number: 046vColophonFolio number: 460r

Mizanpaj 4 columns. 29 rows. Leaf height: 350 mm, width: 240 mm. Written height: 266 mm, width: 170 mm.

Menşei Yeri Turkman style/Iran,provincial

Köken (Provenance) Bought for the Bibliotheque du roi in 1729-30 in Constantinople by abbe Francois Sevin for 29 "piastres" (f.1r a stamp of Biblitheca Regie)

Müstensih(ler) Darvish Fakhr ad-Din 'Ali b. Khwaja Jamal ad-Din Husayn b. Khwaja Fakhr ad-Din 'Ali Balyanii al-Murshidi, known as Shahnama-khwan

Yazı Tipi Cursive Naskh. Calligrapher: Darvish Fakhr ad-Din 'Ali b. Khwaja Jamal ad-Din Husayn b. Khwaja Fakhr ad-Din 'Ali Balyanii al-Murshidi, known as Shahnama-khwan.

Yüzyıl 1 1400s C.E.

Oluşturma Tarihi (Bağlantı Türü) keyword search

Oluşturma Türü creation

Yıl (Bitiş) 1490

Yıl (Başlangıç) 1490

Görüntü Hakları (İndirme) Images made available for download are licensed under a Creative Commons Attribution-NonCommercial 4.0 Unported License (CC BY-NC 4.0)

Dil Kodu 1 per

Dil 1 Persian

Metadata Hakları This metadata is licensed under a Creative Commons Attribution-NonCommercial 4.0 Unported License.

Küçük Resim Yönü portrait