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

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

discernible: while Ackerman - on the basis of Mohammadï's style and the so-called Sanguszko carpets brought into connection with it - dated the appliqué to the second half of the sixteenth century, the other authors, referring to the style of Sol(an Mohammad, describe it as being not later than c. 1550-60. SPA. 2158; EFENDIEV 1976, 40-41; GOMBOS 1982. 20. 23 SPA, 1165-1171, Pis. 1274-5. 24 Judging on the basis of a photograph, Phyllis Ackerman incorrectly thought it an embroidered work. SPA, 2158; PI. 1099. 25 ROBINSON, Basil W.: "Muhammadi and the Khurasan Style", in: IRAN XXX (1992), 17-29. Hereinafter: ROBINSON 1992. 26 SAKISIAN, Arménag Bey: La Miniature Persane du Kile au XVlle siècle. Paris - Bruxelles, 1929, Ills. 160-161. Hereinafter: SAKISIAN 1929. 27 Not counting, of course, the rare portraits made by Mohammad! and his circle. SAKISIAN 1929, 111. 131; ROBINSON 1992, M7. M15. 28

GOMBOS 1982, 24; III. 5. Cf. Kenm KERIMOV: Azerbaycan minyatiirlenlAzerbaydzhanskiye Miniatyuryl Azerbaijan Miniature. Baku, 1980, no. 83. Hereinafter: KERIMOV 1980. 29 Sheila R. CANBY: The Golden Age of Persian Art 1501-1722. New York - London, 2000, 107; 111. 95. The painting is not dated and there are different datings suggested in the specialist literature. Canby considers the work to be c. 1625/6; according to others it was made c.1590. See STCHOUKINE, Ivan: Les peintures des manuscrits de Shah ' Abbâs 1er a la fin des Safaris. Paris, 1964, 100. 30 ROBINSON, Basil W.; "A Survey of Persian painting (1350-1896)", in: Adle, Chahriyar (ed.): Art et société dans le monde iranien/Honar va jâm'e dar jahân-e ïrânî. Paris Tehran, 1982/1361, 54; 111. 27. In ROBINSON 1992, he did not, however, list the painting in the oeuvre. 31 CANBY, Sheila R.: "The Pen or the Brush? An inquiry into the technique of late Safavid drawings", in: Hillenbrand. Robert (ed.): Persian Painting from the Mongols to the Qâjârs: Studies in Honour of Basil W. Robinson. London - New York, 2000. 77-78: 111. 3. 32 SPA, 2158; EFENDIEV 1976,41; GOMBOS 1982, 19-20. 33 Examples: Washington. DC. Arthur M. Sackler Gallery, S86. 0300, see SIMS, Eleanor: Peerless Images. Persian Painting and its Sources (hereinafter: SIMS 2002), no. 143; Istanbul, Topkapi Sarayi Müzesi, H. 2154, folio 146 recto, see KERIMOV 1980; no. 93. 34 Especially worthy of attention is folio 253 recto: SIMPSON, Marianna Shreve: Persian Poetry, Painting & Patronage: Illustrations in a Sixteenth-Century Masterpiece. New Haven - London, 1997, 66. 35 The "inscription" is a mere decorative pattern, thus illegible. 36 CANBY, Sheila R.: Persian Painting. London, 1993, 82-85; 111. 52. Hereinafter: CANBY 1993; More recently: CANBY 2000. 54-55: 111. 37, and CANBY - THOMPSON 2003, Cat. No. 4.24. 37 A close-up of the turban: CANBY 1993, 111. 5. 38 WELCH, Anthony: "The Worldly Vision of Mir Sayyid 'Ali", in: Canby, Sheila R. (ed): Persian Masters. Five Centuries of Painting. Bombay, 1990, 89; 111. 4; with additional literature. Hereinafter: WELCH 1990. See also CANBY 1993, 82-85; 111. 53. 39 For the method of restoration see the workbook of principal restorator Mrs. Sándor Borsi ("Iparművészeti Múzeum, Textil osztály - technikai dosszié 140. 1952-1962" [Museum of Applied Arts, Budapest. Textile Department - Technical Dossier 140. 1952-1962]). For a recent discussion of certain textile designs based on graphic sources, albeit from the later Safavid period, see CANBY, Sheila R.: "Pounces for textiles or pounces for pictures?", in: Canby, Sheila R. (ed): Safavid Art and Architecture. London, 2002,67-71. 40 STCHOUKINE, Ivan: Les peintures des manuscrits Safavis de 1502 à 1587. Paris, 1959, 84; cf. WELCH 1990. 89; CANBY 1993, 83. 41 CANBY 2000, 54-55. 42 GRUBE, Ernst J.: The Classical Style in Islande Painting: The Early School of Herat and its Impact on Islamic Painting of the Later 15 th, 16th and 17th Centuries. Lugano, 1968, 37-38. According to others, there is no sign that individual artists chose or changed their style at any kind of direct royal suggestion on the part of the shah. See SWIETOCHOWSKI, Marie Lukens: "Habib Allah", in: Hillenbrand, Robert (ed.): Persian Painting from the Mongols to the Qâjârs: Studies in Honour of Basil W. Robinson. London - New York, 2000, 291. 43 For the "classic" explanation of the theme see WELCH, Stuart Cary: A King's Book of Kings. The Shah-Nameh of Shah Tahmasp. London - New York, 1972, 68-76. Hereinafter: WELCH 1972. 44 For this more recent theory see SOUDAVAR, Abolala: "Between the Safavids and the Mughals. Art and Artists in Transition", in: IRAN XXXVII (1999), 51-52. Hereinafter: SOUDAVAR 1999. 45 Private collection. Attribution: WELCH 1972, 100-102. 46 ECHRAGHI, Ehsan: "Description contemporaine des peintures murales disparues des palais de sah Tahmäsp I à Qazvin", in: Adle, Chahriyar (ed.): Art et société dans le monde iranien!Honar va jâm'e dar jahân-e ïrânî. Paris Tehran, 1982/1361, 117-126. 47 For the sale see MINORSKY, Vladimir (trans, and notes): Calligraphers and Painters. A Treatise by Qâdi Ahmad, Son ofMir-Munshi. Smithsonian Institution, Freer Gallery of Art Occasional Papers. Washington, DC, 1959, 185; hereinafter: MINORSKY 1959; cf. 'Abd al-Hoseyn NAVÄT (ed.): Sah Tahmäsb Safavi. Tehran, 1368/1989,46. Hereinafter: NAVÄ'I 1989. See also SOUDAVAR 1999, 50. 48 GOMBOS 1982, 27;I11.6. 49 For a fifteenth-century example see SIMS 2002, no. 26; there is an analogous example by Sol(an Mohammad: see eadem, no. 223. 50 WELCH, Stuart Cary: Wonders of the Age. Masterpieces of Early Safavid Painting. London - Washington, DC Cambridge, MA, 1979, no. 35. 51 Washington, DC. The Art and History Trust (deposit in