A fine Shama'il Nama, in Arabic, illuminated manuscript on paper [Qajar Persia, second half of the nineteenth century] Single vast leaf, central oval painting of a kneeling Imam Ali facing Hassan and Husayn, seated on a veranda below a cloudy sky with 3 winged angels, framed within ornate circular patterns forming geometrical shapes around the image, all in polychrome heightened in gold, Qur'anic verses, Sunni dua and Imams' names appearing in text-panels forming a border around the image, in gold, green or red naskh, some very slight darkening of the leaf and occasional surface soiling, overall excellent condition, c. 580 by 370mm.; framed This is a very important Shi'a Hilye in tribute Imam Ali. The attribution to the Imam is an important factor as it sets this apart from Ottoman contemporaries that do not include visual representations at all. This is one of only four examples of Shama'il namas sold in the past two decades, all produced around the same period in Qajar Persia, and probably from the same workshop. Two of these examples include a small portrait of the Imam at the top of the page, and the present example represents the second style which includes a much larger illustration that includes Hassan and Husayn in the image.
A fine Shama'il Nama, in Arabic, illuminated manuscript on paper [Qajar Persia, second half of the nineteenth century] Single vast leaf, central oval painting of a kneeling Imam Ali facing Hassan and Husayn, seated on a veranda below a cloudy sky with 3 winged angels, framed within ornate circular patterns forming geometrical shapes around the image, all in polychrome heightened in gold, Qur'anic verses, Sunni dua and Imams' names appearing in text-panels forming a border around the image, in gold, green or red naskh, some very slight darkening of the leaf and occasional surface soiling, overall excellent condition, c. 580 by 370mm.; framed This is a very important Shi'a Hilye in tribute Imam Ali. The attribution to the Imam is an important factor as it sets this apart from Ottoman contemporaries that do not include visual representations at all. This is one of only four examples of Shama'il namas sold in the past two decades, all produced around the same period in Qajar Persia, and probably from the same workshop. Two of these examples include a small portrait of the Imam at the top of the page, and the present example represents the second style which includes a much larger illustration that includes Hassan and Husayn in the image.
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