Farangī-sāzī Style of the Ṣafawid Artistic Heritage
A. A. Ivanov, “The Life of Muḥammed Zamān: A Reconsideration”, Iran: Journal of the British Institute of Persian Studies 17 (1979): 65–70.
Amélie Couvrat Desvergnes, et al., “Dutch or Iranian? Technical Study of a Seventeenth-Century Painting on Paper from Gesina Ter Bosch’s Scrapbook,” Heritage Science 9, no. 1 (September 2021): 1–24.
Amy S. Landau, “Farangī-sāzī at Isfahan: The Court Painter Muḥammad Zamān, the Armenians of New Julfa and Shāh Sulaymān (1666–1694)” (PhD diss., University of Oxford, 2009).
—. “From Poet to Painter: Allegory and Metaphor in a Seventeenth-Century Persian Painting by Muhammad Zaman, Master of Farangī-Sāzī,” Muqarnas 28 (2011): 101–32.
—. “Reconfiguring the Northern European Print to Depict Sacred History at the Persian Court” in Mediating Netherlandish Art and Material Culture in Asia, ed. Thomas DaCosta Kaufmann and Michael North (Amsterdam: Amsterdam University Press, 2014), 65–83.
—. “Man, Mode, and Myth Muhammad Zaman ibn Haji Yusuf,” in Pearls on a String: Artists, Patrons, and Poets at the Great Islamic Courts, ed. Amy S. Landau (Baltimore, MD: The Walters Art Museum, 2015), 167–203.
Anastassiia Botchkareva, “Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran 1580-1750” (PhD diss., Harvard University, 2014).
—. “Topographies of Taste: Aesthetic Practice in 18th-Century Persianate Albums,” Journal 18: A Journal of Eighteenth-Century Art and Culture 6, (Fall 2018), available through here.
Bahman Razi Olyaei, “17.–18. Yüzyıl İran Resim Sanatında Batı Etkileri” (PhD diss., Mimar Sinan Güzel Sanatlar Üniversitesi, 2016).
—. “17. Yüzyıl’da Avrupa Görsel Sanat Eserlerinin İran’ın Geleneksel Resmine Etkisi,” Sanat Tarihi Yıllığı 27, (2018): 217–74.
Francesco Calzolaio and Stefano Pellò, “A Persian Matteo Ricci: Muḥammad Zamān’s Seventeenth-century Translation of De Christiana Expeditione apud Sinas,” in Global Perspectives in Modern Italian Culture Knowledge and Representation of the World in Italy from the Sixteenth to the Early Nineteenth Century, ed. Guido Abbattista (New York and Abingdon, Oxon: Routledge, 2021), 146–60.
Forough Sajadi, “The Impact of the Netherlandish Art on Persian Miniature in Safavid Era 1588–1722” (PhD diss, Warsaw, 2020).
Parviz Tanavoli, European Women in Persian Houses: Western Images in Safavid and Qajar Iran (London and New York: I.B. Tauris, 2015).
Priscilla Soucek and Muhammad Isa Waley, “The Nizāmī Manuscript of Shāh Tahmāsp: a Reconstructed History,” in A Key to the Treasure of the Hakīm Artistic and Humanistic Aspects of Nizāmī Ganjavī’s Khamsa, ed. Johann-Christoph Bürgel and Christine van Ruymbeke (Leiden: Leiden University Press, 2011), 195–210.
Negar Habibi, “Le Farangi sāzi et Les Peintures de ʿAli Qoli Jebādār: Un Syncrétisme Artistique sous Shāh Soleymān (1666–1694)” (PhD diss., Aix-Marseille University, 2014).
—. “Un Peintre Saheb Mansab? Une Reconsidération de la Carrière de ʿAli Qoli Jebādār,” Iran: Journal of the British Institute of Persian Studies 54, no. 2 (2016): 143–57.
—. “ʿAli Qoli Jebādār et L’enregistrement du Réel dans Les Peintures dites Farangi sāzi,” Der Islam: Zeitschrift für Geschichte und Kultur des Islamischen Orients 94, no. 1 (2017): 192–219.
—. ʿAli Qoli Jebādār et l’Occidentalisme Safavide: une Étude sur Les Peintures dites Farangi sāzi, Leurs Milieux et Commanditaires sous Shāh Soleimān (1666–94) (Leiden and Boston: Brill, 2018).
—. “ʿAlī Qūlī Jibādār and the St. Petersburg Muraqqaʿ: Documenting the Royal Life?,” in Proceedings of the Eighth European Conference of Iranian Studies, vol. 2, Studies on Iran and the Persianate World after Islam, ed. Olga M. Yastrebova (St. Petersburg: The State Hermitage Publishers, 2020), 111–21.
—. “The Making of New Art: From the Khazana to its Audience at the Court of Shah Soleyman,” in The Idea of Iran, vol. 10, Safavid Persia in the Age of Empires, ed. Charles Melville (London and New York: I.B. Tauris, 2021), 424–42.
—. “Farangi-sazi,” in Encyclopaedia Iranica Online, 2021.
Portraits of the European Figures/Nakedness, Sexuality, and Eroticism
Alex Langer, “European Influences on Seventeenth-Century Persian Painting: Of Handsome Europeans, Naked Ladies, and Parisian Timepieces,” in The Fascination of Persia: The Persian European Dialogue in Seventeenth-Century Art & Contemporary Art of Teheran (Zurich: Museum Rietberg and Scheidegger & Spiess, 2013), 170–237.
Amy S. Landau, “Visibly Foreign, Visibly Female: The Eroticization of Zan-i Farangī in Seventeenth-Century Iranian Painting,” in Eros and Sexuality in Islamic Art, ed. Francesca Leoni and Mika Natif (Farnham, Surrey and Burlington, VT: Ashgate Publishing, 2013), 90–130.
Gary Schwartz, “Terms of Reception: Europeans and Persians and Each Other’s Arts,” in Mediating Netherlandish Art and Material Culture in Asia, ed. Thomas DaCosta Kaufmann and Michael North (Amsterdam: Amsterdam University Press, 2014), 25–63.
Joseph Marie Lo Duca and Theo Lesoualc’h, Die Erotik im Fernen Osten: Persien, Indien, Japan [2 vols. in 1] (Darmstadt: May & Co., 1967), 7–28, and 398 (bibliography).
Kristel Smentek, “From Europe to Persia and Back Again: Border-Crossing Prints and the Asymmetries of Early Modern Cultural Encounter,” in Prints as Agents of Global Exchange, ed. Heather Madar (Amsterdam: Amsterdam University Press, 2021), 107–26.
Negar Habibi, “Zan-i Farangi, A Symbol of Occident: The European Women in Farangi Sazi Paintings,” in Iran and the West: Cultural Perceptions from the Sasanian Empire to the Islamic Republic, ed. David Bagot and Margaux Whiskin (London and New York: I.B. Tauris, 2018), 225–40.
Samira Roostaie, “Representation of European Women in Safavid Persian Painting: Reversing the East-West Dichotomy (Architecture as a Political Battlefield)” (MA thesis, University of Florida, 2017).
Sussan Babaie, “Visual Vestiges of Travel: Persian Windows on European Weaknesses,” Journal of Early Modern History 13, no. 2 (January 2009): 105–36.
Oil Paintings from the Ṣafawid Artistic Heritage
Amy S. Landau, “From the Workshops of New Julfa to the Court of Tsar Aleksei Mikhailovich: an Initial Look at Armenian Networks and the Mobility of Visual Culture,” in Metalwork and Material Culture in the Islamic World: Art, Craft and Text: Essays Presented to James W. Allan, ed. Venetia Porter and Mariam Rosser-Owen (London and New York: I.B. Tauris, 2012), 413–26.
Eleanor G. Sims, “Five Seventeenth-Century Persian Oil Paintings,” in Persian and Mughal Art, ed. Michael Goedhuis (London: P & D Colnaghi & Co., 1976), 221–48.
—. “Late Safavid Painting: The Chehel Sutun, the Armenian Houses, the Oil paintings”, in Akten des VII. Internationalen Kongresses für Iranische Kunst und Archäologie (Berlin: Dietrich Reimer Verlag, 1979), 408–18.
—. “The ‘Exotic’ Image: Oil-Painting in Iran in the Later 17th and the Early 18th Centuries”, in The Phenomenon of ‘Foreign’ in Oriental Art, ed. Annette Hagedorn (Wiesbaden: Ludwig Reichert, 2006), 135–40.
—. “Six Seventeenth-century Oil Paintings from Safavid Persia”, in God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture (New Haven and London: Yale University Press, 2013), 341–63.
Michael Chagnon, “‘Cloath’d in Several Modes’: Oil-on-Canvas Painting and the Iconography of Human Variety in Early Modern Iran”, in The Fascination of Persia: The Persian European Dialogue in Seventeenth-Century Art & Contemporary Art of Teheran (Zurich: Museum Rietberg and Scheidegger & Spiess, 2013), 238–63, and Appendix II, 298–99.
Nino Chikhladze, “Reflections of Georgian-Iranian Cultural Interrelations in Seventeenth-Century Georgian Fine Art,” Iran and the Caucasus 7, nos. 1–2 (2003): 183–90.
Sebouh David Aslanian, From the Indian Ocean to the Mediterranean: The Global Trade Networks of Armenian Merchants from New Julfa (Berkeley and London: University of California Press, 2011), esp. ch. 4.
Sulaymān and Bilqīs Frontispieces and the Šīrāzī Arts of the Book
Basil Robinson, “Painter-Illuminators of Sixteenth-Century Shiraz,” Iran: Journal of the British Institute of Persian Studies 16, (1979): 105–8.
Didem Dede, “16. Yüzyıl Safevi-Şiraz Yazmalarının Karşılıklı Sayfalarındaki Süleyman Peygamber Minyatürlerinin Analizi (Topkapı Sarayı Müzesi)” (MA thesis, Marmara Üniversitesi, 2019).
Ilse Sturkenboom, “Links in a Chain of Transfer: Pictorial and Textual Images of Solomon and the Queen of Sheba in the Manṭiq al-Ṭayr,” Beiträge zur Islamischen Kunst und Archäologie 5, (2017): 70–97.
Karin Rührdanz, “About a Group of Truncated Shāhnāmas: A Case Study in the Commercial Production of Illustrated Manuscripts in the Second Part of the Sixteenth Century,” Muqarnas 14, (1997): 118–34.
Lâle Uluç, “Ottoman Book Collectors and Illustrated Sixteenth Century Shiraz Manuscripts,” Revue des mondes musulmans et de la Méditerranée 87–88, (September 1999): 85–107.
—. “Selling to the Court: Late-Sixteenth-Century Manuscript Production in Shiraz,” Muqarnas 17, (2000): 73–96.
—. “Majālis al-ʿUshshāq: Written in Herat, Copied in Shiraz, Read in Istanbul,” in M. Uğur Derman Festschrift: Papers Presented on the Occasion of his Sixty-fifth Birthday, ed. Irvin Cemil Schick (İstanbul: Sabancı Üniversitesi, 2000), 569–602.
—. Türkmen Valiler Şirazlı Ustalar Osmanlı Okurlar: XVI. Yüzyıl Şiraz Elyazmaları (İstanbul: Türkiye İş Bankası Kültür Yayınları, 2006); English translation by L. Ece Sakar is also available under the title Turkman Governors, Shiraz Artisans and Ottoman Collectors: Arts of the Book in 16th Century Shiraz (İstanbul: Türkiye İş Bankası Kültür Yayınları, 2006).
—. “A Group of Artists Associated with the ‘Āsitāna’ of Ḥusām al-Dīn Ibrāhīm,” Artibus Asiae 61, no. 1 (2007): 113–45.
—. “Saray Çevrelerine Kitap Satışı: 16. Yüzyılın sonlarında Şiraz’da hazırlanan Elyazmaları,” in Bir Allame-i Cihan: Stefanos Yerasimos (1942–2005), ed. Edhem Eldem, et al., eds., 2 vols. (İstanbul: Institut Français d’Études Anatoliennes and Kitap Yayınevi, 2012), 1:649–89.
—. “The Bodmeriana Mihr va Mushtarī: Trends in Shiraz Manuscript Production,” Beiträge zur Islamischen Kunst und Archäologie 5, (2017): 98–115.
—. “Shiraz Manuscripts during the Time of Shah ʿAbbās,” in The Arts of Iran in Istanbul and Anatolia: Seven Essays, ed. Olga M. Davidson and Marianna S. Simpson (Boston, MA and Washington, DC: Ilex Foundation and Center for Hellenic Studies, 2018), 99–106.
Marianna S. Simpson, “The Illustrated Shāhnāma in Sixteenth-Century Shiraz,” in In Harmony: The Norma Jean Calderwood Collection of Islamic Art, ed. Mary McWilliams (Cambridge, MA: Harvard Art Museums, 2013), 77–113, esp. 79–80.
—. “Who’s Hiding Here? Artists and their Signatures in Timurid and Safavid Manuscripts,” in Affect, Emotion, and Subjectivity in Early Modern Muslim Empires: New Studies in Ottoman, Safavid, and Mughal Art and Culture, ed. Kishwar Rizvi (Leiden and Boston: Brill, 2018), 45–65, esp. 57–60.
Serpil Bağcı, “A New Theme of the Shirazi Frontispiece Miniatures: The Dīvan of Solomon,” Muqarnas 12, (1995): 101–11.
Reference Companion for the Collections
The list below provides bibliographic references for the artworks that are present in the collections listed accorded to their corresponding categorisation headings. Throughout the website, for the transliteration of Arabic and Persian the guidelines set by Deutschen Morgenländischen Gesellschaft will be followed, except s̱ for ṯ and ẕ for ḏ. The silent h at the end of Persian words will be rendered with -a, such as ḫāna; and the silent v in Persian will be transliterated as in ḫvāǧa, or Ḫvārazmšāh. For Ottoman Turkish, a synthesis of the Modern Turkish orthography and the above-mentioned guideline will be used such as Ḫocazāde. As for iżāfa constructions in Classical Persian, they will be rendered as -e after consonants and -ye after vowels; and -i/-ı and -yi/-yı in Middle Turkic and Ottoman Turkish.
Dates are given for the most part according to Hiǧrī calendar (al-taqwīm al-hiǧrī/Anno Hegirae) abbreviated as h., Solar Hiǧrī calendar (taqvīm-e hiǧrī-ye šamsī) abbreviated as Sh., or Ottoman Rūmī calendar (taḳvīm-i rūmī) abbreviated as Rh., and their corresponding date in the Gregorian calendar (Common Era or Anno Domini) in that order and separated by a stroke. Throughout the study, ibn and bint are abbreviated as b. and bt., while certain individuals will often be referred to through their unabbreviated patronymics (nasab) such as Ibn Sīnā. Moreover, transliteration proceeds due consideration of the primary language of any text in which difference in language between the text and the title is overcome by the preference for the text itself, not only in the context of Īrān beginning from the venture of Mongol invasion but also the Ottoman tradition in which texts often carry an Arabic title but the work itself is in Persian or Ottoman Turkish, such as Ǧāmiʿ al-tavārīḫ of Rašid al-Din Fażl-Allāh al-Hamadānī or Ḥadāʾiḳ el-ḥaḳāʾiḳ of Nevʿīzāde Aṭāʾī (d. 1045 h./1635). Lastly, referencing style majorly follows the Chicago Manual of Style Online (17th ed.), except in a few cases in which a combination of sections in the referencing manual or novel additions are introduced in order to cite the often elusive character of published monographs in the Middle East.
In the Bibliography below, I do not attempt to be exhaustive but rather aim that the list majorly includes recent publications, which will be complimentary to the already detailed monograph published by Susan Sinclair, Heather Bleaney, and Pablo García Suárez, eds., Bibliography of Art and Architecture in the Islamic World, 2 vols. (Leiden and Boston: Brill 2012).
Catalogues of the Mss. Libraries, Museums, Gallery and Private Collections of Islamicate Artworks
The list below attempts to present a comprehensive as well as up-to-date catalogues of the major Mss. libraries containing historiographic, literary, religious, theological, and philosophical referential sources available in Arabic, Persian as well as Middle, Çağatay, and Ottoman Turkic languages (and to some extent Judeo-Arabic, Judeo-Persian, Kurdish, Urdu, and Deccani). In the list, one will also find references to the arts of the books (book-binding, lacquer-work covers, etc.) and letters or epistolary art (inšāʾ) in manuscript forms as well as muraqqaʿ collections and calligraphic panels and sheets that should be available at the disposal of any relevant art-historian. I mostly strive to exclude references that merely introduce and list existent MSS libraries, state archives, and private collections in various countries; to provide some examples, readers may consult these monographs:
1. For Iran, see Ḥusayn Muttaqī, Fihrist-nāma-ye Īrān: Kitāb-šināsī-ye fihrist-hā-ye dastnivīs-hā-ye Islāmī dar kitābḫāna-hā-ye Īrān (Tihrān: Kitābḫāna, Mūza va Markaz-e Asnād-e Maǧlis-e Šūrā-ye Islāmī, 1390 Sh./2011–12).
[Per. فهرست نامه ایران: کتاب شناسی فهرست های دستنویس های اسلامی در کتابخانه های ایران]
2. ʿAlī Ḥāǧī Bāqiriyān and Sayyid Maḥmūd Marʿašī Naǧafī, Ǧihān-e kitābḫāna-hā: guzīda-ye maqālāt-e darbāra-ye kitābḫāna-hā-ye Īrān va ǧahān (Tihrān: Kitābḫāna-ye ʿUmūmī-ye Ḥażrat-e Āyat-Allāh Marʿašī Naǧafī, 1391 Sh./2012–13).
[Per. جهان کتابخانهها: گزیده مقالات درباره کتابخانههای ایران و جهان]
3. For Turkey, see Nimet Bayraktar and Mihin Lugal, Bibliography on Manuscript Libraries in Turkey and the Publications on the Manuscripts Located in these Libraries, ed. Ekmeleddin İhsanoğlu (İstanbul: IRCICA, 1995).
4. For the British Isles, see Paul Auchterlonie, ed., Collections in British Libraries on Middle Eastern and Islamic Studies (Durham: University of Durham, 1982); and Ian Richard Netton, Middle East Sources: A MELCOM Guide to Middle Eastern and Islamic Books and Materials in the United Kingdom and Irish Libraries, 2nd ed. (Richmond, Surrey: Curzon Press, 1998; Abingdon, Oxon and New York: Routledge, 2013).
The list below is intended to be complementary to these monographs:
1. Irāǧ Afšār, Kitāb-šināsī-ye fihrist-hā-ye nusḫa-hā-ye ḫaṭṭī-ye fārsī dar kitābḫāna-hā-ye dunyā [Bibliographie des Catalogues des Manuscrits Persan] (Tihrān: Dānišgāh-e Tihrān, 1337 Sh./1958).
[Per. کتابشناسی فهرستهای نسخه های خطی فارسی در کتابخانه های دنیا]
2. J. D. Pearson, Oriental Manuscripts in Europe and North America: A Survey (Zug, Switzerland: Inter Documentation Company/UNESCO, 1971), esp. 189–346.
3. Geoffrey Roper, ed., World Survey of Islamic Manuscripts, 4 vols. (London: Al-Furqān Islamic Heritage Foundation, 1992–94); alongside with the online platform Al-Furqān Digital Library.
4. Subhas C. Biswas and M. K. Prajapati, Bibliographic Survey of Indian Manuscript Catalogues (Delhi: Eastern Book Linkers, 1998).
5. Aḥmad Riżā Rahīmī-Rīssa, ed. and trans., Ganǧīna-hā-ye dastnivīs-hā-ye islāmī dar ǧahān, 3 vols. (Tihrān: Sāzmān-e Asnād va Kitābḫāna-ye Millī-ye Ǧumhūrī-ye Islāmī-ye Īrān, 1388–89 Sh./2009–10) [translation of and additions to the World Survey of Islamic Manuscripts; the part concerning Īrān from the second volume was published earlier as Ganǧīna-hā-ye dastnivīs-hā-ye islāmī dar Īrān (Tihrān: Muʾassasa-ye Našr-e Fihristgān, 1379 Sh./2000)].
[Per. گنجینههای دستنویسهای اسلامی در جهان]
6. Ali Haydar Bayat, Açıklamalı Hüsn-i Hat Bibliyografyası Yazmalar Kitaplar Makaleler Kitaplarda Hatla İlgili Bölümler Dış Ülkelerdeki Yayınlar (İstanbul: IRCICA, 2002).
7. Ḥusayn Muttaqī, Kitāb-šināsī-ye fahāris-e dastnivīs-hā-ye Islāmī-ye kitābḫāna-hā-ye Īrān va ǧahān, ed. Sayyid Maḥmūd Marʿašī Naǧafī, 2 vols. (Tihrān: Kitābḫāna-ye ʿUmūmī-ye Ḥażrat-e Āyat-Allāh Marʿašī Naǧafī, 1386–93 Sh./2007–15).
[Per. کتاب شناسی فهارس دست نویس های اسلامی کتابخانه های جهان]
8. Hüseyin Türkmen, Türkiye Kütüphaneleri Yazma Eserler Katalogları (1923–2006) (İstanbul: Kitabevi, 2010).
Referential Sources