1 00:00:08,230 --> 00:00:16,900 Thank you so much to the organisers of the conference for inviting me and to speak and also to help with the with the planning. 2 00:00:16,900 --> 00:00:27,010 It's been really wonderful to see everyone come together online and listen to all of the fascinating papers. 3 00:00:27,010 --> 00:00:40,060 So I will get stuck in my Beharry project concerned illuminated manuscripts produced in late 14th century Shiraz, 4 00:00:40,060 --> 00:00:47,080 mainly under the Muzaffer dynasty, who ruled for us in this period. 5 00:00:47,080 --> 00:01:02,410 They started out as regional governors under the planets before acquiring several cities in Persia in the mid 14th century, in the 13th, 16th to 80s. 6 00:01:02,410 --> 00:01:19,620 Their reign was characterised by constant infighting before Tymber finally put an end to this by executing the entire family in thirteen ninety three. 7 00:01:19,620 --> 00:01:28,000 The Bodleian holds several important illuminated UNOPS Illustrated Muzaffer manuscripts, 8 00:01:28,000 --> 00:01:35,850 all of these manuscripts that you can see here have been discussed by Elaine Wright in her important work, 9 00:01:35,850 --> 00:01:43,860 the look of the book manuscript production in Shiraz 13, 03 to 14 52. 10 00:01:43,860 --> 00:01:50,010 So I'm very much standing on her shoulders when I discuss this material. 11 00:01:50,010 --> 00:01:55,350 And as a write correctly points out, illumination under the muzaffer, 12 00:01:55,350 --> 00:02:06,600 it's marked an aesthetic sea change from the Mongol forebears, the planets and the intuits. 13 00:02:06,600 --> 00:02:12,150 So just to give you a very, very brief overview, enjoyed styles of illumination, 14 00:02:12,150 --> 00:02:20,730 an example of which you can see on the left, by and large, built upon the forms of the planets. 15 00:02:20,730 --> 00:02:33,330 So we see a rather varied colour palette and the use of thick gold strupp work, which you can see on the outer border of the left picture. 16 00:02:33,330 --> 00:02:44,220 So, in contrast, Muzaffer, illumination is characterised by a much more conservative colour palette that mostly employed gold, 17 00:02:44,220 --> 00:02:52,760 deep blue and black, as well as the use of these tiny gold floral sprays. 18 00:02:52,760 --> 00:02:59,960 So this shift in style was particularly important as it eventually developed into the dense, 19 00:02:59,960 --> 00:03:08,320 blue dominated style of decoration popularised by the Timmers. 20 00:03:08,320 --> 00:03:18,820 So just going back to the fellowship specifically, I looked at a particular manuscript that hadn't been discussed in scholarship in detail before, 21 00:03:18,820 --> 00:03:26,980 so this manuscript is on illuminating undated copy of the class of Sardi's with the shelf mark. 22 00:03:26,980 --> 00:03:33,910 As you can see, Eliot, 220. And I felt that it was worth looking into this manuscript in a bit more detail, 23 00:03:33,910 --> 00:03:40,270 not just because it hadn't been examined before, but also because it contains quite a bit of illumination. 24 00:03:40,270 --> 00:03:49,270 And I thought it was an interesting addition to the body of a modified manuscript that we already know about. 25 00:03:49,270 --> 00:03:58,900 So this client contains all of these works, and it's a relatively early copy of the of the collected works of this author, 26 00:03:58,900 --> 00:04:05,590 although there are several 14th century copies that are earlier than this one. 27 00:04:05,590 --> 00:04:12,970 Dominico in Gemito, who was recently published a very comprehensive book on Saudi, 28 00:04:12,970 --> 00:04:21,100 mentions several 14th century copies of the text, some of which I was not aware of when I actually published this research. 29 00:04:21,100 --> 00:04:28,880 So if you are particularly interested in Saudi, do take a look at his work. 30 00:04:28,880 --> 00:04:35,780 So in any case, the manuscript consists of four hundred and forty four folios, medium sized, 31 00:04:35,780 --> 00:04:44,450 measuring roughly 21 by 13 centimetres that was cropped during the rebounding process. 32 00:04:44,450 --> 00:04:55,190 Its size is similar to other GMs offered manuscripts, which, unlike the enormous volumes of the Allconnex, was offered. 33 00:04:55,190 --> 00:05:03,660 Manuscripts usually only measure sort of 20 to 30 centimetres England and 15 to 20 in which. 34 00:05:03,660 --> 00:05:08,760 So the manuscript contains a double illuminated frontispiece, 35 00:05:08,760 --> 00:05:15,360 which you can see on the right and double illuminated text pages, which you can see on the left. 36 00:05:15,360 --> 00:05:27,390 Unfortunately, all of these have lost their original margins. Each work in the manuscript is also marked by an illuminated headpiece. 37 00:05:27,390 --> 00:05:35,790 But I think that all of these, apart from the one which are shown on the slide here, will probably be completed later. 38 00:05:35,790 --> 00:05:41,100 I think this the one I've shown here is the only one that's contemporary to the manuscripts initial production. 39 00:05:41,100 --> 00:05:51,590 And there's also a couple of inscriptions which are flanked by these trapezoidal shapes that you see on the bottom. 40 00:05:51,590 --> 00:05:59,420 The manuscript is copied in a black nurse, the script itself is very neat, it's evenly spaced. 41 00:05:59,420 --> 00:06:05,360 The letter forms a reasonably consistent and although the main colour is black, as you can see, 42 00:06:05,360 --> 00:06:19,700 certain phrases are headings in the text are copied with relative frequency in gold, blue, bright red and dark red. 43 00:06:19,700 --> 00:06:28,760 So the the fellowship enabled me to conduct an in-depth examination of the manuscript's material qualities and to 44 00:06:28,760 --> 00:06:37,730 contextualise it within the visual vocabulary of other Muzaffer manuscripts in order to offer possible dating. 45 00:06:37,730 --> 00:06:44,540 So I won't I don't really have time to explain the slide in much detail. 46 00:06:44,540 --> 00:06:51,470 But essentially, having looked at other Zaphod manuscripts, I suggest that Elliott, 220, 47 00:06:51,470 --> 00:07:02,300 probably dates to somewhere between 30 and 70 to 30 90s based on an analysis of the various elements of illumination and calligraphy. 48 00:07:02,300 --> 00:07:05,130 I should know that I didn't examine the text in detail. 49 00:07:05,130 --> 00:07:13,100 So it might be that if you look at the text and compare it to other 14th century versions of the climate, 50 00:07:13,100 --> 00:07:24,750 that might enable an even more accurate dating. So as I mentioned, I published my conclusions in an article in the journal Manuscripts Studies. 51 00:07:24,750 --> 00:07:36,100 So if you'd like to know more about the nitty gritty, you can look at my I'm happy to email the copy of the article to anyone who wants it. 52 00:07:36,100 --> 00:07:45,070 So one of the main benefits of the fellowship for me has been a better understanding of late 14th century Shiraz illumination, 53 00:07:45,070 --> 00:07:52,660 as Zainab said, I, I come from looking at Anatolia as this is all quite needs to me. 54 00:07:52,660 --> 00:07:58,480 And for the past couple of years, I've been looking at illumination in from Baghdad and trees. 55 00:07:58,480 --> 00:08:05,410 But like many people, I probably haven't made a huge amount of progress over the last year and a half. 56 00:08:05,410 --> 00:08:13,360 But nevertheless, amongst the manuscripts I've been looking at, a small, albeit interesting group stood out to me. 57 00:08:13,360 --> 00:08:20,560 And these are manuscripts that were presumably produced in Shiraz due to their distinctive style of illumination, 58 00:08:20,560 --> 00:08:26,840 but that appear to have some sort of link to various Jilli Ruelas. 59 00:08:26,840 --> 00:08:32,330 Like the Berlin collapse of society, all of these texts are poetic in nature, 60 00:08:32,330 --> 00:08:38,660 which is in fact also the case for most illuminated Mazarin manuscripts that survive. 61 00:08:38,660 --> 00:08:44,540 And I want to stress that I am a very, very, very early stage of this research. 62 00:08:44,540 --> 00:08:50,750 So there is a lot more work to be done and a lot that I don't know. 63 00:08:50,750 --> 00:09:00,560 So, yes, please don't ask me too many difficult questions. OK, so the first manuscript is an undated collection of two works by the poet, 64 00:09:00,560 --> 00:09:14,380 some Mansoor who served the cello reds and was in fact the teacher of Sheik Aweys, who ruled from thirteen fifty six to thirteen seventy four. 65 00:09:14,380 --> 00:09:22,720 The two works, The Divine and Jamsheed Hoshide are each marked by illuminated headpieces, 66 00:09:22,720 --> 00:09:30,760 as you can see on this slide, and these are the actually only illuminated pages in the manuscript. 67 00:09:30,760 --> 00:09:39,580 It's written in a relatively decent version of nostalgic, although I haven't looked at it in detail and according to Elaine. 68 00:09:39,580 --> 00:09:48,520 Right. And easily emerged in Shiraz in its fully developed form in around 13 17. 69 00:09:48,520 --> 00:10:01,830 There are several blank spaces throughout the copy of Jamsheed or Sheet suggesting that it was supposed to be illustrated. 70 00:10:01,830 --> 00:10:10,320 So the possible Jelavic connexion in this manuscript is provided through a short inscription on the First Folio, 71 00:10:10,320 --> 00:10:16,350 which appears to state that the owner of the possessor of the manuscript is Shapeways. 72 00:10:16,350 --> 00:10:21,720 I've only looked at this manuscript briefly, so please forgive me if you do spot any mistakes. 73 00:10:21,720 --> 00:10:27,240 The fact that the inscription is written in a simple red ink in a very modest round, 74 00:10:27,240 --> 00:10:37,950 or could suggest that it was purchased by or gifted to the ruler with his ownership statement added later. 75 00:10:37,950 --> 00:10:42,180 If it was a direct commission, we might expect more elaborate dedication. 76 00:10:42,180 --> 00:10:45,840 But this, of course, cannot be taken for granted. 77 00:10:45,840 --> 00:10:57,720 We also can't rule out the possibility that the inscription is a later fake, but nothing immediately suggests this to me. 78 00:10:57,720 --> 00:11:05,940 The second manuscript in this small group is an undated, illuminated copy of The Divan of Gihan Malik Harten, 79 00:11:05,940 --> 00:11:12,300 who was a female poet and daughter of the injured ruler, Masood Shah. 80 00:11:12,300 --> 00:11:21,150 So she appears to have stayed in Shiraz even after the fall of the injuries and probably lived into the early 13 nineties, 81 00:11:21,150 --> 00:11:28,390 given that she praises certain political figures who were active around that time. 82 00:11:28,390 --> 00:11:37,770 Like other material from this context, the manuscript is medium sized, measuring around 19 by twenty five centimetres. 83 00:11:37,770 --> 00:11:47,370 It's written in good, nostalgic and contains one small headpiece that you can see on the left through the page, we can see this sort of. 84 00:11:47,370 --> 00:11:55,080 Oji type pointed oval, and I've given you an example on the right, which is from a different manuscript, 85 00:11:55,080 --> 00:12:03,180 that you actually can't see this oval anymore and usually it's a repair. 86 00:12:03,180 --> 00:12:08,040 John Malik praises many figures in her writings, such as Shah Qajar. 87 00:12:08,040 --> 00:12:13,500 Of them was Foreheads and Miramshah son of Tymber. 88 00:12:13,500 --> 00:12:23,580 However, this manuscript has a specific dedication to Ahmedzai er written in black ink on a gold panel. 89 00:12:23,580 --> 00:12:30,720 And that's what's pictured in the sense, although I do appreciate that it's quite difficult to see that that is gold. 90 00:12:30,720 --> 00:12:34,530 A cursory look appears to show that it's written over another text, 91 00:12:34,530 --> 00:12:44,480 but on this point I really don't know very much and I hope to be able to see this manuscript in person soon. 92 00:12:44,480 --> 00:12:55,610 The divine has been catalogued by Francis Rishard and discussed by several scholars such as honorary Marseilles Neurone Benison and Dominic Brookshaw, 93 00:12:55,610 --> 00:13:07,250 the latter of whom has studied the Pope in the most detail. I think Marcey suggests an Brookshaw agrees that the manuscript was probably produced in 94 00:13:07,250 --> 00:13:16,550 the lifetime of the poet with the intention of gifting it to Ahmed Chalabi or himself. 95 00:13:16,550 --> 00:13:22,670 The third and final manuscript in this little group is an undated, 96 00:13:22,670 --> 00:13:31,670 illuminated and illustrated anthology of poetry copied by the calligrapher Maroof al Cotard al-Baghdadi, 97 00:13:31,670 --> 00:13:42,270 who was eulogised by the Safavid calligrapher and historian Codi Ahmad in his well-known treatise, Gulistan Eleanora. 98 00:13:42,270 --> 00:13:55,140 Maroof al Baghdadi is known to have served full ruling patrons of the day, Ahmed Julyan, Iskhandar, Sultan Sharu and Bisimwa. 99 00:13:55,140 --> 00:14:06,300 As you can see, the manuscript is rather long and thin, measuring 12 by twenty five centimetres and it's found along the top edge. 100 00:14:06,300 --> 00:14:13,410 This type of codex is known by several names such as BI of Joung and Sophina. 101 00:14:13,410 --> 00:14:23,700 It contains a double frontispiece of which you can see one page on the left as well as 10 headpieces. 102 00:14:23,700 --> 00:14:33,450 There are also five paintings, but it's not clear to me yet whether these are actually contemporary to them on this group's production. 103 00:14:33,450 --> 00:14:42,420 And as one might expect from a master described, the calligraphy is executed to quite high standard. 104 00:14:42,420 --> 00:14:49,080 Naran Benison has also discussed this manuscript in her recent book on the origins of classicism, 105 00:14:49,080 --> 00:14:56,370 noting the inclusion of verse is authored by Ahmed Lyor, 106 00:14:56,370 --> 00:15:08,010 along with the phrase May God internalise his reign, written in the same hand as the main text, but in a slightly different ink. 107 00:15:08,010 --> 00:15:19,700 This suggests that the manuscript was probably produced before Ahmed's death in 14 10. 108 00:15:19,700 --> 00:15:28,070 The question over the undoubtedly Sherazi style of illumination and the circumstances in which it was produced, however, 109 00:15:28,070 --> 00:15:35,450 remains the historian Juanda Mia writes that apparently at some point, 110 00:15:35,450 --> 00:15:43,870 Maruf grew to hate Ahmed Golia and moved to Shiraz to work for iScan the Sultan. 111 00:15:43,870 --> 00:15:52,090 I think given its appearance, it's difficult to believe that the manuscript was produced in Baghdad July illumination produced in Baghdad, 112 00:15:52,090 --> 00:15:55,540 Baghdad in this period, by contrast, 113 00:15:55,540 --> 00:16:08,200 is much more in the L.A. endured tradition featuring lots of different colours and thick gold or floral strap work. 114 00:16:08,200 --> 00:16:17,420 So I've given you a couple of examples there on the right, both of which are dated and were produced in Baghdad. 115 00:16:17,420 --> 00:16:23,870 So, you know, I've been asking myself lots of questions about this, maybe it was decorated by a recently arrived artist, 116 00:16:23,870 --> 00:16:29,210 perhaps having left Shiraz when Timmo occupied it in thirteen ninety three. 117 00:16:29,210 --> 00:16:37,700 But if it was produced in Shiraz, why then is there a prayer for Sultan Ahmed in the text? 118 00:16:37,700 --> 00:16:45,500 Anyway, this line of thinking clearly needs a lot more development on these questions are very, very speculative at the moment. 119 00:16:45,500 --> 00:16:49,610 And I also haven't mentioned the illustrations and the marginal decorations, 120 00:16:49,610 --> 00:16:56,670 of course, of this manuscript, which is something I will need to consider further. 121 00:16:56,670 --> 00:17:08,310 So in conclusion, I have very tentatively grouped these three manuscripts together as they perhaps speak to some aspect of artistic, 122 00:17:08,310 --> 00:17:15,330 intellectual and literary movement between the eastern and western parts of greater Persia. 123 00:17:15,330 --> 00:17:20,730 I will hopefully be able to produce further conclusions in the coming months. 124 00:17:20,730 --> 00:17:35,124 But in the meantime, thank you very much for listening and for any questions you might have.