"This book examines a group of sixteenth- and seventeenth-century figural silks depicting legendary lovers from the Khamsa (Quintet) of epic Persian poetry. Codified by Nizami Ganjavi in the twelfth century, the Khamsa gained popularity in the Persian-speaking realm through illustrated manuscripts produced for the elite, creating a template for illustrating climactic scenes in the love stories of "Layla and Majnun" and "Khusrau and Shirin" that appear on early modern silks. Attributed to Safavid Iran, the publication proposes that dress fashioned from these silks represented Sufi ideals based on the characters. Migration of weavers between Safavid and Mughal courts resulted in producing goods for a sophisticated and educated elite, demonstrating shared cultural values and potential reattribution. Through an examination of primary source materials, literary analysis of the original text, and close iconographical study of figural designs, the study presents original cross-disciplinary arguments about patronage, provenance, and the socio-cultural significance of wearing these silks." -- from Publisher's website

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6 - Safavid Figural Silks in Diplomacy: Rare Textiles of Novel Design

4 - The Divine Cloak of Majesty: Material Culture in Sufi Practice

3 - Weaving Stories, Weaving Self: Layla and Majnun as Sufi Icons

5 - Mughal Dress and Spirituality: The Age of Sufi Kings

Hedayat Munroe, Nazanin;

Sufi Lovers, Safavid Silks and Early Modern Identity

Visual and material culture, 1300-1700, v.41, Amsterdam, 2023

Book collections on Project MUSE, Amsterdam, 2022

Netherlands, Netherlands

FR, 2022

producers:
Adobe PDF Library 16.0.7

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类型: 期刊

作者及作者单位: Nazanin Hedayat Munroe

期刊名: Sufi Lovers, Safavid Silks and Early Modern Identity

年份: 2023

页码: P181-208

摘要: ... surviving garments and depictions, including ambassadorial khil‘at worn by Robert Sherley and...

页码: P83-112

摘要: ... The relationship between poetry and textile weaving is analyzed through passages from Persian...

页码: P115-144

摘要: ... worn by devout worshipers as a khirqa (‘Sufi cloak’). The relationship between material culture...

页码: P145-180

摘要: ... genealogical and political connections with Sufi groups, who migrated to India and popularized...

类型: 图书

出版日期: 2022

出版社: Amsterdam University Press

Cover 1
Table of Contents 8
Acknowledgments 10
Note on Transliteration 16
Introduction: Material Culture and Mysticism in the Persianate World 18
Material Culture and Mysticism 20
The Persianate World 22
Part I 26
1. Silks, Signatures and Self-fashioning 28
Khamsa Narrative Silks in Scholarship 29
The Famous Naqshband: Unrivalled in the Art of Textile Design 33
Craftsmen and Consumers 42
Self-Fashioning in the Early Modern Persianate World 45
2. Dressed as King, Lover and Beloved: Khusrau and Shirin 54
Lovers from Nizami’s Khamsa 56
The Romantic Tragedy of Nizami’s ‘Khusrau and Shirin’ 58
Khusrau and Shirin in Paintings and Safavid Silks 63
The Gaze and the Body: States of Dress and Undress 77
3. Weaving Stories, Weaving Self: Layla and Majnun as Sufi Icons 84
The Mystical Love Story of Nizami’s ‘Layla and Majnun’ 86
Layla and Majnun in Poetry, Paintings and Silk Designs 88
The Khamsa of Amir Khusrau 98
Text and Textile in Sufi Poetry 105
Part II 114
4. The Divine Cloak of Majesty: Material Culture in Sufi Practice 116
Garments as Gifts of Blessing, Piety and Power 117
Chivalry, Spirituality and Materiality in Sufism 119
Khirqa: The Cloak of Spiritual Poverty 129
Khamsa Silk as Khirqa? Figural Silks in Islamic Literary Sources 134
Enrobed: Khil‘at in the Early Modern Age 140
5. Mughal Dress and Spirituality: The Age of Sufi Kings 146
Silk, Sufism and Self-Image at the Mughal Court 147
Figural Silks from Mughal Manufactories 159
Jahangir as King and Lover 170
Ghiyath’s Legacy at the Mughal Court 173
6. Safavid Figural Silks in Diplomacy: Rare Textiles of Novel Design 182
Silk as Commodity in Safavid Iran 183
Figural Silk as Safavid Identity: Sherley and His Rivals 186
Figural Silk as Diplomatic Gifts 193
Safavid and Mughal Gift Giving in Historical Accounts 198
Figural Silks at the Mughal Court 204
Conclusion 210
Reattribution of the Khamsa Silks Based on Paintings and Poetry 211
Textile Designs and Designers 212
Sufi Kings in Mughal India and Safavid Iran 213
Khusrau and Shirin: Love and Kingship 214
Layla and Majnun: Separation and Union 216
Deviations from the Khamsa Characters 218
Concluding Thoughts 219
Appendix A: List of Khamsa Silks 222
Appendix B: Summary of ‘Shirin and Khusrau’ by Amir Khusrau Dihlavi 224
Appendix C: Summary of ‘Majnun and Layla’ by Amir Khusrau Dihlavi 228
Glossary of Textile Terms 232
Glossary of Persian and Arabic Terms 236
List of Historic Figures 242
Index 248
List of Illustrations 12
Figure 1.1: Textile fragment depicting Layla and Majnun. Attributed to sixteenth century, Safavid Iran. Silk with metal foil; double cloth. L: 7 7/8 in. (20 cm), W: 5 3/8 in. (13.65 cm). The Textile Museum (1969.36.1). Acquired from the Cooper Hewitt Muse 30
Figure 1.2: Textile fragment depicting Khusrau seeing Shirin bathing. Attributed to mid-sixteenth century, Safavid Iran. Silk; cut velvet. L: 7 1/2 in. (19.1 cm), W: 5 7/8 in. (14.9 cm). Cleveland Museum of Art (1944.499.b). Purchase from the J.H. Wade Fu 31
Figure 1.3: Textile fragment depicting Layla and Majnun, with the signature ‘Work of Ghiyath’ (detail), mirrored to show proper direction of the script. Attributed to sixteenth century, Safavid Iran. Silk, with gilded parchment wrapped around silk core; s 35
Figure 2.1: Khusrau Catches Sight of Shirin Bathing (detail). Folio from a Khamsa of Nizami. Painting by Shaikh Zada. Calligraphers: Sultan Muhammad Nur and Mahmud Muzahhib. 1524-1525, Safavid Iran. Ink, opaque watercolour, and gold on paper. L: 12 5/8 in 67
Figure 2.2: Textile fragment depicting Khusrau and Shirin. Attributed to mid-sixteenth century, Safavid Iran. Silk; cut velvet. L: 15 3/8 in. (39 cm), W: 6 1/2 in. (16.5 cm). The Metropolitan Museum of Art (1978.60). Purchase, Seley Foundation Inc., Schim 69
Figure 2.3: Textile fragment depicting Khusrau and Shirin. Attributed to mid-sixteenth century, Safavid Iran. Silk, with metal threads; cut and voided velvet. L: 15 15/16 in. (40.5 cm), W: 10 in. (25.3 cm). Topkapi Saray Museum (no. 13/1697). © The Presid 71
Figure 2.4: Textile fragment depicting Khusrau and Shirin. Attributed to ca. 1600, Safavid Iran. Silk, with metal threads; cut and voided velvet. L: 28 1/4 in. (71.76 cm), W: 21 3/4 in. (55.25 cm). The Keir Collection of Islamic Art on loan to the Dallas 73
Figure 2.5: Textile fragment depicting Khusrau and Shirin, with the signature ‘Work of Ghiyath.’ ca. 1600, Safavid Iran. Silk with metal threads; cut and voided velvet. L: 24 3/4 in. (62.87 cm), W: 18 3/8 in. (46.67 cm). The Keir Collection of Islamic Art 75
Figure 2.6: Digital drawing of Ghiyath’s signature on fig. 2.5, mirrored to show proper direction of the script. © 2022 Nazanin Hedayat Munroe. 75
Figure 2.7: Textile fragment depicting Khusrau and Shirin. Attributed to seventeenth century, Safavid Iran. Silk; double cloth. L: 8 1/4 in. (20.96 cm), W: 10 3/4 in. (27.31 cm). Yale University Art Gallery (1951.51.82). Hobart and Edward Small Moore Memo 76
Figure 3.1: Textile fragment depicting Layla and Majnun, with the signature ‘Work of Ghiyath.’ Attributed to sixteenth century, Safavid Iran. Silk, with gilded parchment wrapped around silk core; satin lampas. Silk; cut velvet. L: 25 3/16 in. (64 cm), W: 89
Figure 3.2: Textile fragment depicting Layla and Majnun, with the signature ‘Work of Ghiyath.’ Attributed to late sixteenth/early seventeenth century, Safavid Iran (Yazd or Isfahan). Silk, metal-wrapped silk; satin lampas. L: 20 1/8 in. (51.08 cm), W: 27 90
Figure 3.3: Textile fragment depicting Layla and Majnun. Attributed to ca. 1550-1600, Safavid Iran. Silk; cut velvet. L: 17 5/8 in. (44.77 cm), W: 18 1/2 in. (46.99 cm). The Kier Collection of Islamic Art on loan to the Dallas Museum of Art (K.1.2014.1335 91
Figure 3.4: Textile fragment depicting Shirin and Farhad (detail). Attributed to sixteenth/seventeenth century, Safavid Iran. Silk, metal-wrapped thread; double cloth. L: 25 3/4 in. (65.4 cm), W: 14 3/8 in. (36.5 cm). The Metropolitan Museum of Art (46.15 94
Figure 3.5: Textile fragment depicting Khusrau and Shirin, Layla and Majnun, Yusuf and Zulaikha (detail). Attributed to early seventeenth century, Safavid Iran. Silk; double cloth. L: 12 3/4 in. (32.5 cm), W: 6 7/8 in. (17.5 cm). British Museum (1985,0506 96
Figure 3.6: Layla Visits Majnun in the Desert. Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi. Attributed to Bihzad, 1485; Timurid, Herat (Afghanistan). Approx. L: 7 7/8 in. (20 cm), W: 6 in. (15 cm). Chester Beatty Library, Dublin, MS 163, f. 120v 101
Figure 3.7: Layla and Majnun in the Wilderness with Animals. Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi. Attributed to Sanwalah, ca. 1590-1600, Mughal India. Opaque watercolour, ink and gold on paper. L: 7 5/16 in. (18.6 cm), W: 6 3/8 in. (16.2 102
Figure 4.1: Khusrau Seated on His Throne (detail). Folio from a Khamsa of Nizami. Painting by Shaikh Zada. Calligraphers: Sultan Muhammad Nur; Mahmud Muzahhib. 1524-1525, Safavid Iran. Ink, opaque watercolour, and gold on paper. L: 12 5/8 in. (32.1 cm), W 128
Figure 4.2: A Dervish. Attributed to late sixteenth/early seventeenth century, Safavid Iran. Ink, opaque watercolour, and gold on paper. H: 8 3/8 in. (21.3 cm), W: 5 3/8 in. (13.6 cm). Metropolitan Museum of Art (13.228.35). Gift of Alexander Smith Cochra 133
Figure 4.3: Dancing Dervishes. Folio from the Shah Jahan Album. Mir ‘Ali Haravi (Calligrapher). Ca. 1610, Mughal India. Ink, opaque watercolour, and gold on paper. L: 15 3/16 in. (38.6 cm), W: 10 3/16 in. (25.9 cm). Metropolitan Museum of Art (55.121.10.18 136
Figure 5.1: The Emperor Shah Jahan with His Son Dara Shikoh (with detail). Folio from the Shah Jahan Album. Painting by Nanha. Ca. 1620, attributed to Mughal India. Ink, opaque watercolour, and gold on paper. L: 15 5/16 in. (38.9 cm), W: 10 5/16 in. (26.2 158
Figure 5.2: Chasuble (with detail). Attributed to Iran (fabric); Russia (shoulder pieces), sixteenth century (fabric), seventeenth century (shoulder pieces). Silk and silver thread; cut and voided velvet. L: 136 cm. Entered the Hermitage in 1930; transfer 164
Figure 5.3: Drawings of motifs by the author: a) dragonfly, Majnun velvet (fig. 5.2); b) tulip and dragonfly, Mansur’s painting; c) tulip with ibex, Majnun velvet (fig. 5.2); d) rabbit, Farrukh Beg’s painting (S1986.230); e) rabbit, Safavid drawing (fig. 168
Figure 5.4: Majnun in the Wilderness (detail). Second half of sixteenth century, attributed to Safavid Iran. Ink, opaque watercolour, and gold on paper. L: 3 7/8 in. (9.8 cm), W: 2 5/8 in. (6.7 cm). Metropolitan Museum of Art (45.174.6). Bequest of George 169
Figure 6.1: Portrait of Robert Sherley. Anonymous artist. Ca. 1626. Oil on canvas. L: 76 3/4 in. (195 cm), W: 41 3/8 in. (105 cm). After Canby, Shah ‘Abbas: The Remaking of Iran. 189
Figure 6.2: Portrait of Teresia Sherley. Anonymous artist, ca. 1626. Oil on Canvas. L: 84 1/4 in. (214 cm), W: 48 3/4 in. (124 cm). After Canby, Shah ‘Abbas: The Remaking of Iran. 190
Figure 6.3: Portrait of Naqd ‘Ali Beg. Richard Greenbury. 1626. Oil on canvas. L: 83 7/8 in. (213 cm), W: 51 in. (129.5 cm). London, British Library (F 23). 191

This text examines a group of sixteenth- and seventeenth-century figural silks depicting legendary lovers from the Khamsa (Quintet) of epic Persian poetry. Codified by Nizami Ganjavi in the twelfth century, the Khamsa gained popularity in the Persian-speaking realm through illustrated manuscripts produced for the elite, creating a template for illustrating climactic scenes in the love stories of 'Layla and Majnun' and 'Khusrau and Shirin' that appear on early modern silks

2023-03-23