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Hello, I'm Ali Velshi,

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and I'm going to briefly introduce a very important person illustrated manuscript of 1001 Nights from Gogia period in mid 19th century,

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now preserved in some palace library in Tehran.

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Preparing the artistic manuscript in workshops was a tradition in the Persian courts since many years ago,

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these magnificent manuscripts were masterpieces in calligraphy,

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painting, binding and illumination like preparing and keeping these art objects in the royal libraries,

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the rulers showed their passion for cultural and artistic activities.

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For many years, the classical Persian literature, such as Air by Ferdowsi Conservationism and Collegiately SAT,

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where the literature that has been used for this purpose.

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Thousands of manuscripts of Charlemagne.

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The story of Kings have been produced in the Persian Gulf War workshops since the 14th century, not preserved in a many different museum in the world.

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The Hajar dynasty was an Iranian royal dynasty of Turkey origin, especially from CARGILE Tribe, ruling over Iran from 1789 to 1925.

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They were seven rulers who have governed in Iran in this period.

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At a time of fatally shot Hijrah, Iranians start using printing press to publish books,

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many books in a different subject have been published with moveable types and the later with a method of lithography.

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By developing the printing industry, fewer manuscripts were produced,

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and the tradition of making manuscripts in the royal workshops has vanished gradually.

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But in that period, one of the most important person manuscripts repaired in the course of Mohammad-Najjar, NATCA,

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for the first time in Iran during the region of Montmartre and the point of order of Bahman Muzaffar, the ruler of Azerbaijan,

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Mirza Abdul-Latif Hitosugi Tabrizi translated the complete text up 1001 nights from Arabic

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edition of a line of a Laila publishing block in 1835 and Mirasol Muhammad Ali Esfahani,

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known as the champs of Schriro and compose poems and also called the poetry of the classical Persian poets to suit their stories.

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The translation was published in two volumes in October at 45 in Tabriz Method of Lithography.

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Also, the first publication did not contain any images.

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Seven subsequent lithographer editions published between 1855 to 1933 contain illustrations.

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By order of Mohammad-Najjar, the text of manuscript was written by a royal scribe, Mahamat or Senior Constable Sultana Tehrani,

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the manuscripts text without illustrations was ready after Mahamat shows that in 1852,

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it's not clear whatever the ruler wanted to have it illustrated or not.

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By order of Muhammad's successor, young Nasser,

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to show the manuscript was illuminated and illustrated by a group of artists under the supervision of Sanyal,

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the royal painter, during the seven years 1852 to eighty fifty nine.

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On every illustrated page, there are between three to six watercolour images, usually of an exquisite quality.

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The total number of images is three thousand six hundred fifty five.

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You can see the number of illustrated pages and a number of illustrations in the each volumes of the manuscript in the chart.

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The most important interesting aspects of this manuscript is a number and quality of the illustrations,

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which makes it a masterpieces of the Iranian and miniature painting in its time.

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On the one hand, the manuscript is the only Persian illustrated manuscript of 1001 Nights,

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and on the other hand, it is the Persian and manuscript containing the largest amount of images.

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Meanwhile, this copy is the last Persian illustrated manuscript produced at the Royal Workshop in Iran and one of the most impressive ones.

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Since January,

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more of the painter and art director of the project was a royal painter who had a duty to make a portraits of the royalties and nobilities.

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Several royal figures from our court have been presented as a character of 1001 Nights story, for instance.

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Now Shaw and he's the minister Amir. They're the people whose faces have been painted in different character in this manuscript.

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Also, this manuscript is a very important source of its anthology of 19th century, unlike the European illustrated edition of the 1001 Nights,

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which shows the Ottoman and Arabic met atmosphere in the images and the faces and the customs

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and the living environments are made to resemble these periods in which the book was written.

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The painter of this manuscript have recorded every single detail about building furniture,

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customs, ceremonies, carrier technology, entertainment, et cetera, from Iran in 19th century.

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This style of illustration in this manuscript had been followed by the other illustrators and a student of Sanyal in the lithographs,

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books and other manuscripts in this society.

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You can see that the artist who illustrated the lithograph edition of 1001 Nights used the same

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composition and visual structure that has been used for the illustration on 1001 Nights manuscripts.

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One of the artists who probably collaborated with Sanyal Molk in the illustrating this magnificent manuscript is Musa Hassan Isfahani,

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the son of the second Mirasol,

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the painter who have been working as a painter of the large portrait paintings in a quarter fatally shot and Mohammad shot.

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It can be one of the reason that his son was in contact with the nursery court and was invited to participate in this project.

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Since Musa Hassan was one of the famous illustrators in a little craft books and his words have been published in many books from 18,

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55 to 1860 for comparing his works in the lithographic books and with the images of the

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1001 Nights manuscript can be a way to get his connexion with this illustrated manuscript.

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You can see the similary structure and composition of the images in this slide one from

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lithographer edition of Rooms of Hamza and one from the manuscript of 1001 Nights.

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The similarity of these worlds shows that he had access to the manuscript of

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the night and he might be one of the last readers who worked in this project.

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Musa Hassan is also one of the artists who illustrated the first version of the night, he,

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together with alcoholically the great master illustrator of the little ruffed books and miniseries Ashtiani,

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illustrated their first illustrated Daily Telegraph edition of The Knights in 1854,

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about the year that the manuscript illustrations and the images in this edition later

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become a model for illustrating Lithographic edition of the night's ENDESA Slide.

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You can see the images that are on The Butcher from the lithographs edition of 1854 and the image of the same story from four editions over the years.

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The similarity of these images shows the continuation of book illustration tradition over half a century.

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On the one hand, there was a general interest of Iranians in poetry and on the other hand,

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interest in the texts of the Knights, because the story has been composed as a long verse title,

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Hazardous on Enlarger Period DC version was published a once in 80 99 as a little craft book illustrated by to an artist jabbered and.

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At the end, I would like to introduce another Persian translation of the Knights, which copies are preserved in Hudson Library,

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Harvard University and in Boston, our library in Oxford University translated from an unidentified manuscript or printed edition in Arabic in 1814.

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Its translator is Mohammad Baba Khorasani, and the translation of us prepares for Henry Russell, the British resident in Hyderabad in India.

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It contains 276 numbered nights, plus a total of twenty six unnumbered nights.

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The last part of the manuscript is not divided into nights, and there seems to have been translated from a different Arabic source.

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The order of 10 stories of these copies, almost the same as passenger translation.

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But this version first indicates. Of the war of knowledge of Persian translation of 1001 nights has increased in

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recent decades and that this topic has been studied by various researchers.

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There is still a need for more research to Richarlison on translations and comparative study of identified Persian translations.

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Thank you for your attention. Have a good day and stay safe.