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16th-century calligrapher and poet. A version of this article is available in print Volume I, Fascicle 2, pp. 209 ʿABDĪ NĪŠĀPŪRĪ, also known as ʿABDĪ QALANDAR and ʿABDĪ ŠĀHĪ, calligrapher and poet active in the first half of the 10th/16th century. Writing ca. 957/1550 Sām Mīrzā Ṣafavī mentions that ʿAbdī had died within the last two years ( Toḥfa-ye Sāmī, Tehran, 1314 Š./1935, p. 18). Bayānī has disputed this statement, noting that ʿAbdī b. Ḥasan Qalandar copied a page in 996/1588 ( Ḵošnevīsān, pp. 424-25). However, it seems that ʿAbdī b. Ḥasan is not to be identified with ʿA…

calligrapher and poet who lived in Isfahan and Baghdad where he died in 1587-1588. He was a famous nastaʿlīq script writer. A version of this article is available in print Volume III, Fascicle 3, pp. 295 BĀBĀ SHAH ESFAHĀNĪ, calligrapher and poet who lived in Isfahan and Baghdad where he died in 996/1587-88. He was famous as a writer of the nastaʿlīq script. Said to have had an ascetic temperament, he also wrote poetry under the taḵalloṣ “Ḥālī.” Virtually nothing is known about his personal life or professional training. Statements by Taqī-al-Dīn Moḥammad Kāšānī and Moṣṭ…

Qāżī Aḥmad praises ʿAbdallāh’s skill in lacquer painting (rang o rowḡan). This technique was widely used in the decoration of bookbindings during the 16th century, and the examination of surviving bindings may lead to the discovery of further works by ʿAbdallāh. A version of this article is available in print Volume I, Fascicle 2, pp. 205-207 ʿABDALLĀH ŠĪRĀZĪ, painter and illuminator of the late 10th/16th century. According to Qāżī Aḥmad (p. 146; tr., pp. 189-90) he was a member of the manuscript atelier of Abu’l-Fatḥ Ebrāhīm b. Bahrām b. Esmāʿīl for …

painter, calligrapher, and courtier in the service of the Mughal emperor Homāyūn.A version of this article is available in printVolume I, Fascicle 2, pp. 162-167 ʿABD-AL -ṢAMAD ŠĪRĀZĪ, painter, calligrapher, and courtier; he entered the service of Homāyūn at Kabul in 956/1549 and remained an important artistic and governmental figure under Akbar (963-1014/1556-1605). Still active in 1008/1600, he appears to have died before the accession of Jahāngīr in 1014/1605. A painting recently in the art market bears an inscription …

MĪRZĀ, also known as Ḵamsaʾī, a calligrapher active between 1869-70 and 1890. A version of this article is available in print Volume II, Fascicle 2, pp. 183 ĀQĀ ZANJĀNĪ, MĪRZĀ, also known as Ḵamsaʾī, a calligrapher active between 1286/1869-70 and 1307/1890. He belonged to the retinue of the grand vizier Āqā Ebrāhīm Amīn-al-solṭān and his son ʿAlī-Aṣḡar Khan Amīn-al-solṭān Atābak-e Aʿẓam. He is said to have instructed ʿAlī-Aṣḡar Khan and his brother Esmāʿīl Khan Amīn-al-molk in calligraphy. Principal examples of his work ar…

(1394-35), b. Šāhroḵ, Timurid prince, ruler of Shiraz, military commander, and renowned calligrapher. A version of this article is available in print Volume VIII, Fascicle 1, pp. 76-78 EBRĀHĪM SOLṬĀN b. Šāhroḵ, Timurid prince, ruler of Shiraz, military commander, and renowned calligrapher (796-838/1394-35). At his instigation and with his assistance Šaraf-al-Dīn ʿAlī Yazdī wrote his biography of Tīmūr (Tamerlane), the Ẓafar-nāma. Ebrāhīm himself achieved renown as calligrapher, particularly in the ṯolṯ script, which he employed in both Koranic manuscripts and arch…

Historian of the reign of the Il-khan Olǰāytū and member of the Abū Ṭāher family of potters (14th century). A version of this article is available in print Volume I, Fascicle 4, pp. 362-363 ABU’L- QĀSEM ʿABDALLĀH KĀŠĀNĪ, historian of the reign of the Il-khan Olǰāytū (r. 703-16/1304-16) and member of the Abū Ṭāher family of potters. He was apparently associated with two rivals of the period, the viziers Fażlallāh Rašīd-al-dīn and Tāǰ-al-dīn ʿAlīšāh. The first (and probably original) preface to his earliest work (no. 3, below) is ded…

illustrated manuscript, now dispersed, of Ferdowsī’s epic poem, often identified by the name of a former owner, the Paris dealer Georges Demotte (active ca. 1900-23). It is generally believed to have been produced for a patron associated with the Il-khanid court and is renowned for the quality of its paintings. A version of this article is available in print Volume VII, Fascicle 3, pp. 277-278 DEMOTTE ŠĀH-NĀMA, illustrated manuscript, now dispersed, of Ferdowsī’s epic poem, often identified by the name of a former owner, the Paris dealer Georges Demotte (activ…

Calligrapher active in Herat, Samarqand, and Mashad (mid-15th century). A version of this article is available in print Volume I, Fascicle 2, pp. 195-197 ʿABDALLĀH HERAVĪ, ŠEHĀB-AL-DĪN (“Ṭabbāḵ” or “Āšpaz”), mid-8th/15th century calligrapher active in Herat, Samarqand, and Mašhad. His major contribution appears to have been in designing monumental inscriptions for the Timurids, but he seems also to have worked as a gilder in the manuscript ateliers. A native of Herat, he apparently became a member of the Timurid court w…

Although Ettinghausen’s official role at the Berlin Museum ended in early 1933 because of decrees issued by the National Socialist Party, he retained an admiration for the work of his former colleagues, epecially that of F. Sarre. A version of this article is available in print Volume IX, Fascicle 1, pp. 62-63 ETTINGHAUSEN, RICHARD (1906-79), a German-born and educated scholar specializing in the study of Islamic art (Figure 1). His career was largely in the United States, where he held both curatorial and professorial appointments. Although his i…

Safavid official and poet skilled in calligraphy, killed at the battle of Čālderān in Raǰab 920/August 1514. A version of this article is available in print Volume I, Fascicle 1, pp. 105-106 ʿABD-AL -BĀQĪ YAZDĪ, Safavid official and poet skilled in calligraphy, killed at the battle of Čālderān in Raǰab, 920/August, 1514. He was a descendant of the founder of the Neʿmatallāhī order, Nūr-al-dīn Neʿmatallāh (q.v.; 730-834/1330-1431). He has been called the son of Naʿīm-al-dīn Neʿmatallāh Ṯānī, but a different line of descent from Nūr-al-dīn was suggested by Ī. Afšār ( Yādgārhā-ye Yazd, Te…

a five-storied building overlooking the Maydān-e Šāh of Isfahan.. A version of this article is available in print Volume I, Fascicle 8, pp. 871-872 ʿĀLĪ QĀPŪ (literally “lofty gateway”), a five-storied building overlooking the Maydān-e Šāh of Isfahan from the west (Figure 32). The name refers to the vaulted passageway at its center leading to the area once occupied by the Safavid palace. Flanking that passageway are two stories of smaller rooms. Surmounting it is an open portico, or tālār, with a roof supported by eighteen wooden columns. Behind the gateway and its portico…

(or MĪR ʿALĪ TABRĪZĪ), 8th/14th century calligrapher who is often credited with the invention of the nastaʿlīq script. A version of this article is available in print Volume I, Fascicle 8, pp. 881 ʿALĪ or MĪR ʿALĪ TABRĪZĪ, 8th/14th century calligrapher who is often credited with the invention of the nastaʿlīq script. Little is known about his life except that he was a sayyed and a contemporary of both Tīmūr (d. 807/1405) and the poet Kamāl Ḵoǰandī (d. 803/1400); he is also said to have been a poet. Modern scholars have been uncertain which of the two Mīr ʿA…

(d. 1516), Timurid court official, poet, scribe, and musician. A version of this article is available in print Volume I, Fascicle 2, pp. 202-203 ʿABDALLĀH B. ŠAMS-AL-DĪN MOḤAMMAD MORVĀRĪD KERMĀNĪ, ŠEHĀB-AL-DĪN (d. Raǰab, 922/August, 1516), Timurid court official, poet, scribe, and musician. His father, Moḥammad Morvārīd, had moved to Herat from Kermān during the reign of Abū Saʿīd (855-73/1451-69) and later became that ruler’s vizier. Subsequently he performed the same function for Ḥosayn Bāyqarā until retiring to become custodian ( motavallī) at the shrine of ʿAbdallāh Anṣ…

miniaturist (late 8th/14th century). A version of this article is available in print Volume I, Fascicle 2, pp. 115 ʿABD-AL -ḤAYY, ḴᵛĀJĀ, miniaturist of the late 8th/14th century and the beginning of the 9th/15th century. The earliest patron with whom he is associated is the Jalayerid Ovays b. Ḥasan (r. 757-76/1356-74). Dawlatšāh (ed. Browne, p. 262) states that Ovays’s skill in drawing was so great that he became ʿAbd-al-Ḥayy’s teacher; the particular style of drawing they practiced is called qalam-e vāseṭī, but the precise artistic significance of the term is uncertain. A …

(1248-1312/1832-95), a scholar, calligrapher, poet, and physician active in Qajar court circles. A version of this article is available in print Volume I, Fascicle 3, pp. 290-291 ABU’L- FAŻL B. FAŻLALLĀH MAJD-AL-DĪN MOḤAMMAD SĀVAJĪ (1248-1312/1832-95), a scholar, calligrapher, poet, and physician active in Qajar court circles. His father had moved to Tehran from Sāva, but his family was descended from Ḥasan Khan Šāmlū, the Safavid governor of Herat under Shah ʿAbbās I and Shah Ṣafī. Abu’l-Fażl was precocious, attaining renown a…

revered as the calligrapher who gave šekasta script its definitive form. A version of this article is available in print Volume I, Fascicle 2, pp. 127 ʿABD-AL -MAJĪD ṬĀLAQĀNĪ, revered as the calligrapher who gave šekasta script its definitive form. Born in the Ṭālaqān district of Qazvīn about 1150/1737-38, he was educated in Isfahan where he died (1185/1771-72). Of an ascetic disposition, he is also known as Darvīš ʿAbd-al-Maǰīd (Fażāʾelī, Aṭlas, pp. 618-19; Bāmdād, Reǰāl II, p. 301). He composed poetry using as taḵalloṣ both Maǰīd and Ḵāmūš (Fażāʾelī, Aṭlas, p. 618). Šekasta script, w…

Paintings signed by ʿAbdallāh are of two types: compositions showing strong influence from Herat painting of the late 15th and early 16th centuries and studies of couples, often in a garden setting, a theme which appears to have been especially popular in Bokhara. A version of this article is available in print Volume I, Fascicle 2, pp. 193-195 ʿABDALLĀH BOḴĀRĪ, a painter active in Bokhara during the middle decades of the 16th century. His paintings are very similar in theme and execution to those of his contemporary Maḥmūd Moḏahheb, who may have been t…

painter active during the reign of Shah ʿAbbās II (1052-77/1642-66). A version of this article is available in print Volume I, Fascicle 6, pp. 600-601 AFŻAL AL- ḤOSAYNĪ, painter active during the reign of Shah ʿAbbās II (1052-77/1642-66). The principal evidence of him comes from an extensively illustrated Šāh-nāma of Ferdowsī now in the Leningrad Public Library (G.P.B. MS Dorn 333). According to the preface, it was prepared as a gift for Shah ʿAbbās II by order of Qūṛčībāšī Mortażā-qolī Khan. The calligrapher, Moḥammad-Šafīʿ b. ʿAbd-al-Jabbār…

the use of consciously designed patterns to embellish building surfaces and objects for aesthetic effect. Despite progress in identifying or classifying the features of Persian decorative patterns, few scholars have attempted to explain why particular designs were used in specific periods, regions, or circumstances. A version of this article is available in print Volume VII, Fascicle 2, pp. 159-197 DECORATION, the use of consciously designed patterns to embellish building surfaces and objects for aesthetic effect, one of the most characteristic features…