- Hardcover: 244 pages
- Publisher: The Nour Foundation in association with Azimuth Editions and Oxford University Press (Nov 1995)
- Language English
- ISBN-10: 019727627X
- ISBN-13: 978-0197276273
- Product Dimensions: 37.6 x 27.2 x 3.6 cm
- Amazon Bestsellers Rank: 1,680,584 in Books (See Top 100 in Books)
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Product Description
Book Description
A detailed scholarly analysis of the production, ownership, and historical importance of the earliest surviving Arabic copy of the Jami al-Tawarikh or Universal History, by the Ilkhanid vizier, Rashid al-Din. One of the finest medieval illustrated manuscripts in the world, the 14th-century fragment in the Nasser D. Khalili Collection has been restored and is fully illustrated in colour for the first time.
About the Author
Sheila Blair is Co-editor, Dictionary of Western Art (Western and Central Asia section)
Inside This Book
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First Sentence
The most striking feature of the Rashid al-Din manuscript in the Khalili Collection (MSS727) is its size. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
The most striking feature of the Rashid al-Din manuscript in the Khalili Collection (MSS727) is its size. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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Synopsis
20 Jun 2000
The Nasser D. Khalili Collection is the greatest collection of Islamic art in private hands. Among its holdings of manuscripts is a fragmentary copy in Arabic of the Jami al-Tawarikh or Universal History, one of the greatest illustrated medieval manuscripts to have survived from either East or West. Written by the historian and vizier to the Ilkhanid court, Rashid al-Din, and copied in Tabriz between 1310 and 1315 by the author's own calligraphers and illustrators, the manuscript's importance as the first world history was quickly recognized. Sheila Blair reconstructs the often complex history of its ownership, explains its seminal role in the evolution of the illustrated Persian book, and challenges the belief of previous scholars that the Nour fragment and that in the Library of the University of Edinburgh are parts of different manuscripts. Her study of the manuscript's text and miniatures - accompanied by numerous colour details and duotone illustrations of comparative material - provides fascinating insights into the state of pre-Mongol painting and the working practices of a Persian atelier over six hundred years ago
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