Hello, I'm Ali Velshi,
and I'm going to briefly introduce a very important person illustrated manuscript of 1001 Nights from Gogia period in mid 19th century,
now preserved in some palace library in Tehran.
Preparing the artistic manuscript in workshops was a tradition in the Persian courts since many years ago,
these magnificent manuscripts were masterpieces in calligraphy,
painting, binding and illumination like preparing and keeping these art objects in the royal libraries,
the rulers showed their passion for cultural and artistic activities.
For many years, the classical Persian literature, such as Air by Ferdowsi Conservationism and Collegiately SAT,
where the literature that has been used for this purpose.
Thousands of manuscripts of Charlemagne.
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.
The Hajar dynasty was an Iranian royal dynasty of Turkey origin, especially from CARGILE Tribe, ruling over Iran from 1789 to 1925.
They were seven rulers who have governed in Iran in this period.
At a time of fatally shot Hijrah, Iranians start using printing press to publish books,
many books in a different subject have been published with moveable types and the later with a method of lithography.
By developing the printing industry, fewer manuscripts were produced,
and the tradition of making manuscripts in the royal workshops has vanished gradually.
But in that period, one of the most important person manuscripts repaired in the course of Mohammad-Najjar, NATCA,
for the first time in Iran during the region of Montmartre and the point of order of Bahman Muzaffar, the ruler of Azerbaijan,
Mirza Abdul-Latif Hitosugi Tabrizi translated the complete text up 1001 nights from Arabic
edition of a line of a Laila publishing block in 1835 and Mirasol Muhammad Ali Esfahani,
known as the champs of Schriro and compose poems and also called the poetry of the classical Persian poets to suit their stories.
The translation was published in two volumes in October at 45 in Tabriz Method of Lithography.
Also, the first publication did not contain any images.
Seven subsequent lithographer editions published between 1855 to 1933 contain illustrations.
By order of Mohammad-Najjar, the text of manuscript was written by a royal scribe, Mahamat or Senior Constable Sultana Tehrani,
the manuscripts text without illustrations was ready after Mahamat shows that in 1852,
it's not clear whatever the ruler wanted to have it illustrated or not.
By order of Muhammad's successor, young Nasser,
to show the manuscript was illuminated and illustrated by a group of artists under the supervision of Sanyal,
the royal painter, during the seven years 1852 to eighty fifty nine.
On every illustrated page, there are between three to six watercolour images, usually of an exquisite quality.
The total number of images is three thousand six hundred fifty five.
You can see the number of illustrated pages and a number of illustrations in the each volumes of the manuscript in the chart.
The most important interesting aspects of this manuscript is a number and quality of the illustrations,
which makes it a masterpieces of the Iranian and miniature painting in its time.
On the one hand, the manuscript is the only Persian illustrated manuscript of 1001 Nights,
and on the other hand, it is the Persian and manuscript containing the largest amount of images.
Meanwhile, this copy is the last Persian illustrated manuscript produced at the Royal Workshop in Iran and one of the most impressive ones.
Since January,
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.
Several royal figures from our court have been presented as a character of 1001 Nights story, for instance.
Now Shaw and he's the minister Amir. They're the people whose faces have been painted in different character in this manuscript.
Also, this manuscript is a very important source of its anthology of 19th century, unlike the European illustrated edition of the 1001 Nights,
which shows the Ottoman and Arabic met atmosphere in the images and the faces and the customs
and the living environments are made to resemble these periods in which the book was written.
The painter of this manuscript have recorded every single detail about building furniture,
customs, ceremonies, carrier technology, entertainment, et cetera, from Iran in 19th century.
This style of illustration in this manuscript had been followed by the other illustrators and a student of Sanyal in the lithographs,
books and other manuscripts in this society.
You can see that the artist who illustrated the lithograph edition of 1001 Nights used the same
composition and visual structure that has been used for the illustration on 1001 Nights manuscripts.
One of the artists who probably collaborated with Sanyal Molk in the illustrating this magnificent manuscript is Musa Hassan Isfahani,
the son of the second Mirasol,
the painter who have been working as a painter of the large portrait paintings in a quarter fatally shot and Mohammad shot.
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.
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,
55 to 1860 for comparing his works in the lithographic books and with the images of the
1001 Nights manuscript can be a way to get his connexion with this illustrated manuscript.
You can see the similary structure and composition of the images in this slide one from
lithographer edition of Rooms of Hamza and one from the manuscript of 1001 Nights.
The similarity of these worlds shows that he had access to the manuscript of
the night and he might be one of the last readers who worked in this project.
Musa Hassan is also one of the artists who illustrated the first version of the night, he,
together with alcoholically the great master illustrator of the little ruffed books and miniseries Ashtiani,
illustrated their first illustrated Daily Telegraph edition of The Knights in 1854,
about the year that the manuscript illustrations and the images in this edition later
become a model for illustrating Lithographic edition of the night's ENDESA Slide.
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.
The similarity of these images shows the continuation of book illustration tradition over half a century.
On the one hand, there was a general interest of Iranians in poetry and on the other hand,
interest in the texts of the Knights, because the story has been composed as a long verse title,
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.
At the end, I would like to introduce another Persian translation of the Knights, which copies are preserved in Hudson Library,
Harvard University and in Boston, our library in Oxford University translated from an unidentified manuscript or printed edition in Arabic in 1814.
Its translator is Mohammad Baba Khorasani, and the translation of us prepares for Henry Russell, the British resident in Hyderabad in India.
It contains 276 numbered nights, plus a total of twenty six unnumbered nights.
The last part of the manuscript is not divided into nights, and there seems to have been translated from a different Arabic source.
The order of 10 stories of these copies, almost the same as passenger translation.
But this version first indicates. Of the war of knowledge of Persian translation of 1001 nights has increased in
recent decades and that this topic has been studied by various researchers.
There is still a need for more research to Richarlison on translations and comparative study of identified Persian translations.
Thank you for your attention. Have a good day and stay safe.