The fragment from the Divan has been gutted and overlaps the painting of Solomon, effectively framing the image. The other fragment contains verses from the Divan of Hafez. One fragment contains a painting that depicts an enthronement scene featuring King Solomon, which, as I argue, was taken from a copy of the Majalis al-Ushshaq by Kamal al-Din Gazurgahi. This thesis is focused on a previously unpublished collage comprised of two manuscript fragments from Safavid Iran. The mimetic abstraction of this Safavid-Shiʿi aesthetic, initially connected to Imam ʿAli, was considered as superior to the optical naturalism of the Chinese aesthetic. This analysis also elucidates the growing sense of a very distinct pictorial style in Safavid Iran, which was thought to derive from an inner vision situated in the mind or heart of the painter. Furthermore, my analysis of Dust Muhammad’s preface to the Barham Mirza Album and other important contemporary primary sources, such as the poem Āyīn-i Iskandarī (The Rules of Iskandar, 1543/44) by ʿAbdi Beg of Shiraz, reveals an early Safavid reluctance to embrace optical naturalism, which was strongly associated with the Chinese aesthetic. A close examination of the relationship between the Chinese and Persianate paintings in this album and comparisons with other paintings and drawings demonstrate the ways in which Chinese artworks were perceived, adopted and self-consciously adapted during Shah Tahmasp’s reign (1524–1576). ![]() ![]() It focuses on the album that Dust Muhammad compiled for Bahram Mirza, completed in 1544/45 and largely preserved in its original arrangement. This essay addresses the significance and status of Chinese art in sixteenth-century Iran through the lens of Safavid scholars, painters and album compilers, as well as their patrons.
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