An illuminated folio from a manuscript of the Panj Ganj of Jami
| Support Type: | Paper |
| Paint Type: | Mixed Media |
| Current Location: | At a private collection |
| Location History: | The text was commissioned by Badi al-Zaman Mirza who was ruler of Herat. It was given to Mirza Ali Beg Amir Muhammad, son of the ruler of Herat in 1520. The borders were commissioned by Abd al-Rahim Khankhanan and executed by Mushfiq in around 1603 CE. The artwork through a series of succession was handed over to Mughal emperor Jahangir (1624), Shah Jahan, Aurangzeb and Farrukhsiyar. It was acquired by Georges Demotte in the early 20th century and transferred to a private collection in France in the 1940s. The artwork was acquired by Christie's Auction House on 20 October 1994 and was later auctioned off to a private collection. |
The above is an illuminated folio attributed to artist Mushfiq who was an artist in the Mughal imperial workshop. He is known to have worked for the influential Mughal noble and patron of the arts, Abd al-Rahim Khankhanan. Mushfiq was mainly renowned for his contribution to the intricate border decorations and miniature illustrations. This folio is a part of the ‘Panj Ganj’ or five treasures, also known as Khamsa of Jami, who was a celebrated Persian poet of the fifteenth-century. The original manuscript was commissioned by Badi al-Zaman Mirza, the then ruler of Herat. The text is known to have been copied by Sultan Ali al-Mashhadi, a renowned calligrapher in Herat in 1520 CE. The manuscript remained in the royal library of the Safavids until 1603, when it arrived in India. It remained with Abd al-Rahim Khankhanan, a Mughal general for several years. The manuscript was then retouched with new borders, gold accents and illustrations under his patronage between 1603 CE and 1607 CE. The composition is rendered in Persian nastaliq calligraphy and is written horizontally and diagonally in black ink. Particularly striking are the gold designs and accents on the cream-coloured paper. The delicate golden lines apart from adding an aesthetic touch also serve a purpose; they separate the text and create an organised structure, which makes the text easy to read. Perhaps, upon a look at the folio, one would firstly notice the rich and detailed deep blue border surrounding the text. This border contains beautiful and intricate golden illustrations of flowering plants, winding vines, leaves, birds and insects. Within the text, small triangular panels contain colourful depictions of birds which add another interesting dimension to the manuscript. Mushfiq's attention to details and his ability to add an appealing touch by incorporating naturalistic imagery into manuscript decoration are evident by these illustrations. Overall, this artwork is a poignant example of the beauty of combining Persian calligraphic traditions and Mughal illustrations while simultaneously reflecting the cultural and artistic exchange between Persia and the Mughal court.