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

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

fall of his patron. In this way Abolala Soudavar found a logical explanation for his being set aside, and likewise for the fact that when the deposed Indian ruler Homäyün arrived at the Iranian court asking for military support and was envious of the Persian masterpieces he saw there, Tahmäsb promptly offered him Mïr Mosavver, who had then been out of work for more than ten years.

87 His son and pupil Mïr S ay y ed 'Ali also moved to Delhi. About him we know on the one hand that he designed the finest textile patterns in painting,

88 and on the other that perhaps the closest analogy of the appliqué is linked to his name, the abovementioned binding panel (///. 75). In the light of our present knowledge we can with reason presume that the Budapest masterpiece was made to commemorate this historical occasion or in some kind of connection with it. It proclaims the coming of age of Tahmäsb I, both in his life and politically, not long before the change in the shah's taste. A joyous paradise garden, guarded by divine order, surrounds the "Throne of World Possession" (takt-e jahänbärüf

9 once again, and by way of closure the classical Persian iconographie tradition comes together. Perhaps addressed originally to the humiliated prince, the primary message of the composition emerges now for us, the viewers, too: there is no trail to salvation blazed individually; for passing through the mihrab niche is a mercy of royal might. (Translated by Chris Sullivan)