Bāgh-i Samanzār-i Nūshāb: Tracing a Landscape, 
Based on the British Library’s Masnavī 
of Humāy u Humāyūn

In: Muqarnas Online

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  • 3

    Fitzherbert“Khwājū Kirmānī,” 138.

  • 12

    Fitzherbert“Khwājū Kirmānī,” 138.

  • 78

    Fitzherbert“Khwājū Kirmānī,” 142–43.

  • 79

    According to Adamova“The miniature is as full of meanings as the poetry. First of all what impresses is the vastness of the landscape in which the action is encapsulated. The figures themselves are depicted, not at the centre but displaced to the lower left. They, and the two horses, gleam with the gold of their armour set against a background of a lawn sprinkled with flowers resembling a precious carpet.”See A. T. Adamova, Mediaeval Persian Painting: The Evolution of an Artistic Vision, trans. J. M. Rogers(New York, 2008), 41.

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  • 82

    GrayPersian Painting51.

  • 86

    David J. Roxburgh“Micrographia: Toward a Visual Logic of Persianate Painting,” RES: Anthropology and Aesthetics 43 (Spring, 2003): 13.

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  • 95

    Fitzherbert“Khwājū Kirmānī,” 142–43.

  • 111

    GrayPersian Painting, 51.

  • 131

    CanbyPersian Painting44.

  • 138

    Alemi“Garden City of Shah Ṭahmasb,” 106. Also see Maria E. Subtelny, “Visionary Rose: Metaphorical Interpretation of Horticultural Practice in Medieval Persian Mysticism,” in Botanical Progress, Horticultural Innovation and Cultural Changes, ed. Michel Conan and W. John Kress (Washington, D.C, 2007), 13–37. For the metaphor of the rose, also see Annemarie Schimmel, “The Celestial Garden in Islam,” in The Islamic Garden, ed. Elisabeth B. MacDougall and Richard Ettinghausen (Washington, D.C., 1976), 12–39, esp. 31–32.

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  • 139

    Alemi“Garden City of Shah Ṭahmasb,” 106–8.

  • 144

    GrayPersian Painting, 69.

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