An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Manuscript of the Baharistan (Spring Garden)1551
Calligrapher: Mir Husain al-Husaini; Painter: Mahmud al-Muzahhib (Mahmud "the gilder")
Manuscript of the Baharistan, confronting illuminated pages and double frontispiece miniature. The Beharistan by Jami; Manuscript by Mir Husain Al Husaini the year 908 of Hijra Miniature, double fonts, Executed in Bukhara for the Sultan Abu'l-Ghazi 'Abdu'l-'Aziz Behadur Miniature is signed Mahmud al-Mudhahhib (in Fehzadian Tradition) Binding is made in Half size mold, inside paper is filigree Identification by Attinghausen-March 1957. (Fine Quality)
8 3/4 x 5 in. (22.23 x 12.7 cm)
Tooled and gilded leather, ink, colors, and gold on paper
Uzbekistan
16th century
The Katherine Kitteredge McMillan Memorial Fund
In a serene corner of history, a manuscript lay, breathing life into the beautiful world of Islamic book arts. It was a complete version of the Baharistan, also known as the Spring Garden, crafted by the hands of Jami, a revered Persian poet who walked the earth from 1419 to 1492. This manuscript was more than just pages filled with ink; it was a manifestation of Islam's profound respect for the written word, a treasure that whispered tales of virtues and wisdom.
Imagine a time when royal patronage forged the essence of art, where kings and sultans gathered craftsmen with meticulous care. This very volume emerged from that sacred dance of artistry and reverence for knowledge. Sourcing vibrant pigments, hunting for fine leather for its binding, and recruiting talented artists required a strenuous journey of dedication. Each stroke of a brush, each delicate script, was a labor of love, echoing the heartbeats of those who cherished their culture.
At the heart of the Baharistan lies a tapestry of moral leadership—an echo of Jami's wisdom that resonated deeply with Sultan ‘Abd al-‘Aziz, the khan of Bukhara. It was he who commissioned this masterpiece and envisioned its grandeur. One of the double-page illustrations celebrated Alexander the Great, a figure woven into the fabric of princely Persian poetry and cherished by many.
As one turns the pages of this manuscript, it’s as if the spirit of the past envelops the present—each word a petal in the garden, each illustration a bird soaring into the sky. This is not just a book; it’s a spring garden of thoughts, deeply rooted in the values of leadership and the beauty of storytelling—a testament to how art unites us across time and cultures.
About the artist
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