Szilágyi András (szerk.): Ars Decorativa 22. (Budapest, 2003)

Iván SZÁNTÓ: Reflections on the Origins of the Persian Appliqué from the Esterházy Treasury

the Arthur M. Sackler Gallery, Smithsonian Institution), see SOUDAVAR, Abolala: Art of the Persian Courts. New York, 1992, no. 56b. The manuscript was copied in 1514, for Shah EsmaTl I, but this painting was put in together with another only some fifteen years later. 52 CANBY 2000, 58-59; 111. 43, CANBY - THOMPSON 2003, cat. no. 7.10. For Mir Sayyed 'Ali see WELCH 1990, 85-98. "SPA, pis. 1191-1192. 54 CANBY - THOMPSON 2003, cat. no. 12.12, with previous literature. Among them, see especially ETTINGHAUSEN, Richard: "The Boston Hunting Carpet in a Historical Perspective", in: Boston Museum Bulletin/69 (1971), 70-81. Hereinafter: ETTINGHAUSEN 1971. 55 DIMAND, Maurice: "Persian Hunting Carpets of the Sixteenth Century", in: Boston Museum Bulletin/69 (1971), 15-20. Hereinafter: DIMAND 1971. Earlier on there were rather large differences with regard to the dating of individual carpets. Pope, for example, believed the Vienna one and a series of others to be post1550; these have since been dated earlier. See SPA, 2293-2358. The weaving workshop could have been in Tabriz or Kashan. 56 DIMAND 1971, 16-17. 57 One of the earliest occurrence is in the Uppsala Jamal u Jalal manuscript. ZETTERSTÉEN, K. V..- LAMM, C[arl]. J [ohan]

. : Mohammed Asafi. The Story of Jamal and Jalal, An illuminated Manuscript in the Library of the Uppsala University. Uppsala. 1948. The manuscript was copied in Herat; a few of its pictures were made there, too, but completed only after 1510, in Tabriz. Did this Khorasan - Tabriz connection, which assumed decisive importance in miniature painting with the return of the crown prince in 1522, play a similar role with regard to carpets? The nesba (Jàfnï, referring to a city in eastern Khorasan) of Glyat al-Dïn, the designer who signed the Milan carpet, is in any event thought provoking, since the Milan cartouche likewise features 1522. For the relative character of the nesba, however, see SPA, 2296. For a recent discussion of the Safavid täj, see Jon Thompson's essay in CANBY - THOMPSON 2003, 208-210. 58 Idem, Cat. No. 12.19. 59 STEAD, Rexford: The Ardabil Carpets. Malibu, CA, 1974. 60 SPUHLER, Friedrich: "Carpets and Textiles", in: Jackson, Peter (ed.): The Cambridge History of Iran/6. The Timurid and Safavid Periods. Cambridge, 1986, 711-712. For an analysis of the motifs of the Sanguszko carpets see CAMMANN, Schuyler van R.: "Cosmic Symbolism on Carpets from the Sanguszko Group", in: Chelkowski, Peter J. (ed.): Studies in Art and Literature of the Near East in Honor of Richard Ettinghausen. The Middle East Center, University of Utah - New York University Press, 1974, 181-208. 51 Idem, 184. 62 FALK 1991, 119-120. 63 MEMBRE 1999,20. The more embellished tents were, along with almost all of the tent accessories used by the ruler, probably designed by the master-craftsmen of the ketäbkäne. 64 I am grateful to Anikó Pataki for the measurements of these unpublished fragments. 65 ETTINGHAUSEN 1971, 70-74. « CANBY 2000. 49. 67 ANDREWS 1999, 899-915, 1089-1103, 1121-1130, 1152-1156. 68 Idem, 1185-1210. 69 KATONA 1979, 299; GOMBOS 1982, 24. 70 For an early example of a literary manuscript with a frontispiece like this, see SIMS 2002, 111. 54; for a historical manuscript see SIMPSON, Marianna Shreve: The Illustrations of an Epic. The Earliest Shahnama Manuscripts. New York - London, 1979, 111. 110. The theme may later have appeared on book bindings, too, as on the abovementioned cover by Mïr Sayyed 'Alï. See above and CANBY 2000,58-59; 111. 43. For a summary of this pictorial tradition, see HILLENBRAND, Robert: Imperial Images in Persian Painting. Edinburgh, 1977.35-52. 71 ROXBURGH. David J.: Prefacing the Image. The Writing of Art History in Sixteenth-Cenlury Iran. Studies and Sources in Islamic Art and Architecture, vol. IX, Leiden — Boston - Köln, 2001. 69-70: 111. 17. Cf. WELCH 1972. 6162; 111. 14. 72 None of his sons can be among the protagonists. The eldest child, Mohammad Mïrzâ (he later ruled as Mohammad K°däbande) was born in 1531. A list of Tahmäsb Ts twelve sons and seven daughters occurs in NAVÂ'I 1989. 21-22. 73 For a socio-historical characterisation of the crisis see REID, James J.: Tribalism and Confederation in Islamic Iran, 1

500-1629. Malibu, CA, 1983, especially 25 ff. 74 SOUDAVAR 1992, 152-156; 111. 56b. 75 SOUCEK, Priscilla: Sultan Muhammad Tabrizi: Painter at the Safavid Court, in: CANBY, Sheila R.: (ed.): Persian Masters. Five Centuries of Painting. Bombay, 1990, 65-66. 76 See above, and GOMBOS 1982, 26: 111. 6. 77 For his court at Herat see SZUPPE, Marie: "Les résidences princières de Herat. Problèmes de continuité fonctionnelle entre les époques timouride et safavide (1ère moitié du XVIe siècle)", in: Calmard, Jean (ed.): Etudes Safavides/ Molal'ät-e safavï, 39. Paris - Tehran, 1993,280-281. 78 DICKSON, Martin Bernard: "Shah Tahmasb and the Uzbeks: The Duel for Khurasan with 'Ubayd Khan, 930-946/1524-1540". PhD dissertation, Princeton University, 1958,282 ff. Hereinafter: DICKSON 1958; ESKANDAR BEG MONSHI: History of Shah 'Abbas the Great: Târïk-e 'Alamärä-ye 'Abbäsi. Translated by Roger M. Savory, Persian Heritage Series, Number 28, Boulder, CO, 1978, vol. 1, 102; from another aspect: Afsâr, ïrâj (ed.): 'Alamäräye Sah Tahmäsb. Zendegï-dastanï-ye dovvomin padsäh-e dowre-ye Safavï. Tehran. 1370/1991, 54-81. Hereinafter: 'ÄLAMÄRÄ. 79 DICKSON 1958, 283-284. 80 'ÄLAMÄRÄ, 56. 81 Idem 76-77; DICKSON 1958. 294. 82 According to the descriptions, the sobbing prince and the conciliatory Shah Tahmäsb met in a ceremonial royal tent (bärgäh-e sah). The monarch had the prince seated next to him in front of the court demonstrating his forgiveness. 'ÄLAMÄRÄ . 77.