alī riẓā-i 'abbāsī, calligrapher and painter

The Smithsonian InstitutionRegents of the University of Michigan

'Alī Riẓā-i 'Abbāsī, Calligrapher and PainterAuthor(s): Isabel HubbardSource: Ars Islamica, Vol. 4 (1937), pp. 282-291Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the Historyof Art, University of MichiganStable URL: http://www.jstor.org/stable/25167043 .

Accessed: 16/06/2014 00:51

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The Smithsonian Institution and Regents of the University of Michigan are collaborating with JSTOR todigitize, preserve and extend access to Ars Islamica.

http://www.jstor.org

This content downloaded from 91.229.248.154 on Mon, 16 Jun 2014 00:51:30 AMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=si

http://www.jstor.org/stable/25167043?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


<ALI RIZA-I 'ABBASI, CALLIGRAPHER AND PAINTER

BY ISABEL HUBBARD

IhE PROBLEM OF IDENTIFYING ISLAMIC MINIATURE PAINTERS AND ASSIGNING DEFINITE

works to them is exceedingly complicated, but with the further presentation of unpublished material a more satisfactory solution can undoubtedly be reached. One of the great diffi

culties to be encountered is that miniatures from most periods are rarely signed by the artist

and attributions must be made on a purely stylistic basis. During the sixteenth and seven

teenth centuries in Persia, however, signatures were placed on many drawings and paintings.

Unfortunately, in some instances, instead of clarifying the identity of the artist they add

confusion, for either the signatures cannot be read with absolute certainty or they are too

variable to be attributed to one artist. Such is the case of the artists whose signatures contain

the name Riza.1 One book and many articles have been devoted entirely to the "Riza prob

lem," but I propose to consider only those which pertain directly to 'AH Riza-i 'Abbasi and to

present a manuscript which was written, illuminated, and illustrated by him.

Sarre and Mittwoch were the pioneers of the "Riza problem."2 They considered Riza-i

'Abbasi and 'All Riza-i 'Abbasi to be the same artist, both a calligrapher and a painter at the

court of Shah 'Abbas (1587-1628), ignoring the fact that the name 'AH did not appear on any of the signed drawings or miniatures which they published. Many of the drawings which they

assigned to Riza-i 'Abbasi bore varying signatures, and the attributions were criticized by Karabacek who believed the works to be those of more than one artist.3 He discussed several

artists with the name Riza, pointing out the fact that 'AH Riza-i 'Abbasi was known only as

a calligrapher. Martin, ignoring the latter point, wrote of 'AH Riza-i 'Abbasi and Riza-i

'Abbasi as the same artist: "A celebrated and very productive calligrapher and painter."4 Schulz attempted to settle the problem by emphasizing the fact that 'AH Riza-i 'Abbasi,

who was mentioned in historical books and known for his inscriptions, was solely a callig

rapher.5 Kiihnel, however, was not convinced and questioned whether or not this calligrapher was also a painter, mentioning the important fact that historical sources frequently omitted

references to painting since calligraphy was of much more importance in the Islamic world.6

Russian scholars likewise became interested in the controversy but did not present any new arguments.7 Coomaraswamy, confusing the names of 'AH Riza-i 'Abbasi and Riza-i

1 L. Binyon, J. V. S. Wilkinson, and B. Gray, Persian

Miniature Painting, London, 1933, p. 157, note 1. 2 F. Sarre," Riza Abbasi ein persischer Miniaturmaler,"

Kunst und Kunstler, Oct., 1910, pp. 45-53; idem, "Zu

Josef Karabaceks 'Riza-i Abbasi,'" Der Islam, II, 1911,

pp. 196 ff.; F. Sarre and E. Mittwoch, Zeichnungen von

Riza Abbasi, Munich, 1914. 3

J. von Karabacek, "Riza-i Abbasi ein persischer

Miniaturenmaler," Sitzungsber. d. K. Akad. der Wis

sensch., Phil. hist. Klasse, 167, Abh. 1, zur orientalischen

Altertumskunde, III, Wien, 1911, pp. 1-48.

4F. R. Martin, Miniature Painting and Painters of

Persia, India and Turkey, London, 1912, p. 112.

5 P. W. Schulz, Die persisch-islamische Miniatur

malerei, Leipzig, 1914, pp. 201 ff.; idem, "Die Wahrheit iiber Riza Abbasi den Maler," Zeitschr. fiir bildende

Kunst, LII, 1917, pp. 73-82. 6 E. Kiihnel, Miniaturmalerei in islamischen Orient,

Berlin, 1923, pp. 30 ff. Cf. also E. Littmann, "Zeich

nungen von Riza Abbasi von F. Sarre und E. Mittwoch,"

Gottingische gelehrte Anzeigen, 1917, pp. 601-32. 7 B. Denike, "Survey of the History of Muhammadan

Art," Art of the Orient (in Russian), XVII, 1923, pp.

140 ff.; V. A. Kratchkowskaya, "Art in the Collection of

Khanenko," Zapiski (in Russian), II, p. 42.



'ALI RIZA-I 'ABBASI, CALLIGRAPHER AND PAINTER 283

'Abbasi,8 gave his attention more particularly to the question of another artist, Aqa Riza.

Migeon9 and Sakisian10 stated quite definitely that 'AH Riza-i 'Abbasi, the calligrapher, was a

different person from Riza-i 'Abbasi, the painter. Arnold went so far as to say: "Mawlana 'AH Riza 'Abbasi was a famous calligraphist in

the reign of Shah 'Abbas, and wrote out inscriptions for some of the great mosques of Isfahan; he was also appreciated as a copyist of manuscripts, several of which in his handwriting are

still preserved in libraries in Europe. But there is no evidence whatsoever that Mawlana 'AH

Riza 'Abbasi ever painted a picture in his life, and the calligrapher who owed his fame to the

verses from the Word of God which he inscribed on the mosques of Isfahan would probably have viewed with horror the scandalous accusation that he should have so demeaned himself

as to create such pictures as Riza 'Abbasi delighted in. . . . Moreover the only signatures in

the characteristic handwriting of the artist are Riza (simply) or Riza 'Abbasi; there is no

evidence that he ever added 'AH to his name."11

After a discussion of the many angles of this question Binyon, Wilkinson, and Gray stated: "The whole problem has been further tangled by the unnecessary introduction of a

certain 'AH Riza 'Abbasi, a contemporary calligrapher of merit, about whom a certain amount

is known. But' 'AH J

is an essential part of this name, and the fact that it does not appear in

any of the signatures in the miniatures is sufficient to prove that the calligraphist and the

painter are entirely different persons."12 Although some authorities still use the names 'AH

Riza-i 'Abbasi and Riza-i 'Abbasi interchangeably13 the most logical view, according to the

latest publications, is that these names belong to two separate persons.14 The "certain amount" of definite information known about 'Ali Riza-i 'Abbasi consists of

manuscripts and inscriptions bearing his signature and references to him as a calligrapher at

the court of Shah 'Abbas.15 His inscriptions are found on the tomb of Khwaja Rabi' near

Mashhad16 and on the following buildings in Isfahan:17 Mosque of Shaikh Lutf Allah, Bazaar

of the Shoemakers and Cotton Carders (Khaffafan wa Halladjan), and the Mosque of Shah

'Abbas. There are three manuscripts signed by him in the State Library at Leningrad,18 one

8 A. K. Coomaraswamy, "Notes on Mughal Painting,"

Artibus Asiae, III, 1927, pp. 202 ff.; idem, "Les Minia

tures orientales de la collection Goloubew," Ars Asiatica,

XIII, 1929, pp. 50 ff., 9 G. Migeon, Manuel d'art musulman, Paris, 1927, I,

p. 190. 10 A. Sakisian, La Miniature persane du XH-XVIII

stecle, Paris, 1929, pp. 126 ff.

11T. W. Arnold, Painting in Islam, Oxford, 1928,

p. 146; cf. also idem, "The Riza Abbasi MS. in the

Victoria and Albert Museum," Burlington Magazine,

xxxviii, 1921, pp. 59-67. 12

Binyon, Wilkinson, and Gray, op. cit., pp. 159-160. 13 M. S. Dimand, Handbook of Mohammedan Dec

orative Arts, New York, 1930, p. 46; M. Aga-Oglu, Exhibition of Islamic Art, San Francisco, 1937, p. 14.

14 For the most recent summary cf. N. Martinovitch, "Two Questions in Moslem Art," lourn. R. As. Soc,

J935, PP- 29 ff 15 Cf. Sarre and Mittwoch, op. cit., pp. 7 ff. 16 E. Diez, Churasanische Baudenkmaler, Berlin, 1918,

pp. 66 ff.; P. M. Sykes, "Historical Notes on Khurasan," lourn. R. As. Soc, 1910, pp. 1138-39.

17 C. Huart, Les Calligraphes et les Miniaturistes de

VOrient musulman, Paris, 1908, pp. 245 ff.; Sarre and

Mittwoch, op. cit., pp. 7 ff.; Schulz, Die persisch-isla mische Miniaturmalerei, p. 184.

18 B. Dorn, Catalogue des Manuscrits ..., St. Peters

bourg, 1852, p. 290; idem, Milanges Asiatiques, St.

Petersbourg, VI, 1873, pp. 97 and 103; Sarre and Mitt

woch, op. cit., p. 17 and Figs. 7 and 8.



284 ISABEL HUBBARD

in the Metropolitan Museum of Art, New York,19 and a single page in the British Museum.20

All of the dates are consistent with the reign of Shah 'Abbas, his patron. If there were no drawings or paintings signed by 'All Riza-i 'Abbasi, the conclusion that

he was only a calligrapher would be well established on the basis of this evidence. However, there are two references, not illustrated, to his signature appearing on paintings. Aga-Oglu

reported a manuscript in the Topkapu Sarai Miizesi, Istanbul, with miniatures signed 'Ali

Riza-i 'Abbasi;21 and Sakisian also mentioned an album in the same museum in which many

calligraphic pages were signed "Ali Riza et Tebrizi" and one dated 1592 had a miniature

signed "Ali Riza." Sakisian described it as representing a young man wearing a turban with an aigrette and holding flowers in his hand. According to Sakisian this miniature possesses the characteristics of the sixteenth century, and hence is totally different from the work of Riza-i

'Abbasi.22 In addition to these two references there is a Djami manuscript containing minia

tures in the collection of H. Kevorkian, New York,23 which was not only written by 'Ali Riza-i

'Abbasi but was also illuminated and painted by him. These facts are stated on the last page in the following colophon (Fig. 1):

Completed this book of the most eloquent of eloquent, Mawlana, Djami, mercy on him

The writer,24 the painter and the illuminator, 'Ali Riza-i 'Abbasi

In the city of Sari in the year 1022 [1613-14 a.d.] 2S

This is the first definite proof that 'Ali Riza-i 'Abbasi, the calligrapher, was also a painter, and

from his other works it is known that he was active in the northern part of Persia in 1022 h.

(1613-14 a.d.). In addition to the colophon there are three memoranda on the fly leaf

(Fig. 2).

Top of page: This distinguished book of Djami and this famed precious jewel which has sixty leaves of writing and illumination and five scenes of painting, and which from the point of

19 N. Martinovitch, "A New Manuscript of Ali Riza

Abbasi," lourn. Amer. Orient. Soc, XLIV, No. 3, 1924,

pp. 270-72. 20 C. Rieu, Catalogue of the Persian Manuscripts in

the British Museum, London, 1881, II, pp. 781-82; Sarre

and Mittwoch, op. cit., p. 17 and Fig. 9. 21 M. Aga-Oglu, "Some Unknown Mohammadan Il

lustrated Manuscripts in the Library of the Topkapu

Sarayi Muzesi at Istanbul," lourn. Amer. Orient. Soc, L, No. 4, 1930, p. 336, and reprinted in Orientalistische

Literaturzeitung, No. 4, 1931, p. 331. 22

Sakisian, op. cit., p. 136.

23 Exhibited at the M. H. de Young Memorial Mu

seum, San Francisco, 1937, Catalogue, No. 8, with illus

tration. 24 I wish to thank Dr. M. Sprengling for his informa

tion on the word katib. In the other manuscripts signed

by 'AH Riza-i 'Abbasi the form katabahu is used, but

Dr. Sprengling has assured me that the form katib is

"quite common in Persian colophons." 25 This colophon and the following memoranda were

read and translated by Dr. M. Aga-Oglu, to whom I wish

to express my most sincere appreciation.



Fig. i Last Page with Colophon ' ~ """*" *"

Signed by 'Ali Riza-i 'AbbasI Fig. 2 Front Page with Memoranda

Subhat al-Abrar, SarI, 1022 H. (1613-14 a.d.)



Fig. 3 Second Page of Text, Illuminated Fig. 4 First Page of Text, Illuminated

by 'AlI RizA-i 'AbbasI by 'Ali Riza-i 'AbbasI

Subhat al-Abrar, SarI, 1022 h. (1613-14 a.d.)



'ALI RIZA-I 'ABBASI, CALLIGRAPHER AND PAINTER 287

view of calligraphy, illumination, and painting is one of the best works of the master of

the time and the Mani of the period, Ustad 'AH Riza-i 'Abbasi, who never made a bet

ter or more exalted work, today which is the 18 of Zul Hijja 1272 [August 12, 1856] I present to my beloved son MIrza Yusuf. It is hoped that he will know the value of it

and will not give it away from his hand and will remember his father, [signed] The

humble Shaikh Sa'id of Talikan, in the year 1272 [1856 a.d.].

Center of page:

Number of pages and illustrations sixty.

Bottom of page:

Work of Ustad 'Ali Riza-i 'Abbasi and justly there is no better work, [signed] Mirza

Wisal of Shiraz, 1290 [1873-74 a.d.].

This complete manuscript of the Subhat al-Abrdr26 ("Rosary of the Pious"), one of the

seven didactic poems (Haft Awrang or Sa'ba) written by Djami (Mawlana Nur al-Din 'Abd

al-Rahman Djami, 1414-92 a.d.),27 contains sixty pages, five of which have miniature paint

ings. The binding is gold pressed leather, now in a poor state of preservation (24.3 x 13.4

cm.). The wide margins of each page, with the exception of the first two, are of a dull red

shade decorated with realistic animals, birds, flowers, plants, and clouds painted in gold. The

first two pages (Figs. 3 and 4) are luxuriantly illuminated with medallions, arabesques, and

floral motifs painted in gold and many vivid colors on a bright blue background. The text, which is approximately the same size on each page, is dexterously written in Naskhi on paper of

a tan ground; irregular gold bands in leaflike formation, ornamented with pink, blue, and white

petals, separate the lines of calligraphy (page size: 24.3 x 12.5 cm.; text size: 12.5 x 6 cm.). The miniatures are delicately painted in subdued colors on a gold ground. All of them

are similar in composition, having two or three persons gracefully posed in a landscape setting,

predominantly gold relieved by brightly painted flowers and birds. The figures, in costumes

covered with minute patterns, are typical of the late sixteenth and early seventeenth cen

turies. The painting of each miniature is somewhat similar to the highly decorative style of

Muhammad! and other sixteenth-century artists,28 and differs from the freer and more impres sionistic style of Riza-i 'Abbasi.29 The few instances in which there is a similarity of style between these miniatures30 and those by Riza-i 'Abbasi can easily be explained by the fact

that these two artists were painting at the same time.

The first miniature (Fig. 5; 9 x 6.5 cm.) depicts two men seated upon the ground, one

passing a cup of wine to the other; a lady stands at the left holding a covered bowl. Their

garments, with the exception of the scarves, are stiffly decorated with small floral and bird

motifs painted in white and dull orange. The ground is covered with green foliage and a few

26 Erroneously listed as Subhat al-Ahrar in M. Aga

Oglu, Exhibition of Islamic Art, p. 24. 27 Cf. E. G. Browne, A History of Persian Literature,

Cambridge, 1920, I, pp. 507 ff. 28 Cf. Coomaraswamy, op. cit., PI. XXIV (note youth

on throne); Binyon, Wilkinson, and Gray, op. cit., PI.

CVI; Sarre and Mittwoch, op. cit., Fig. 4b; Kiihnel, op.

cit., PI. 75; for marginal decoration cf. ibid., PI. 71. 29 For typical works by Riza-i 'Abbasi cf. Sarre and

Mittwoch, op. cit., Figs. 3 and 5; Binyon, Wilkinson, and

Gray, op. cit., PI. CXI, B317; Kiihnel, op. cit., Pis. 80,

83-84. 30 Cf. shepherd in Figure 8; flowing scarves and land

scape details in each miniature.



288 ISABEL HUBBARD

pale red and blue flowers. In the background behind the large tree with a brown trunk and

green leaves, are green cypresses which are very effective against the gold sky. Two birds, one blue and the other red, are perched in the tree, and a gray bird is flying away. The details

are exquisitely painted and blend together in a rich and harmonious design. The second min

iature (Fig. 6; 7.5 x 6.2 cm.) portrays two men sitting upon the gold ground which is sparsely covered with green leaves and red and blue flowers. A yellow bird and a green bird are in the

large tree. This painting, which is in the decorative style of the first miniature, lacks the vig orous touch of Riza-i'Abbasi.

In the third miniature (Fig. 7; 10.1 x 6.2 cm.) a standing woman is represented extend

ing her hand to a seated man. White and dull orange star medallions decorate the man's

garment, and floral and bird motifs are on the lady's dress; a flowing scarf falls from her

shoulders, giving an easy grace to her pose. A red and white bird sits in the large tree at

the right, and a few pale pink flowers dot the foreground. The entire composition is skillfully executed and is rich in all details. The shepherd in the fourth miniature (Fig. 8; 8.6 x 6.5 cm.) differs from the other figures in that the freer style of Riza-i 'Abbasi is followed. The simple

costume, graceful scarf, and freedom of pose are similar to those in certain works of this

artist.31 However, the royal youth on the throne in the same miniature is painted in the

meticulously elaborate style of the other miniatures; the garment which he wears is carefully covered with blue and red geometrical patterns. The ground is dotted with lavender flowers

and the large tree, partly hidden by rocks, is encircled by a small tree with red blossoms; the

bird on the branch is painted gray and white. The most colorful painting is the last miniature

(Fig. q; 12.6 x 6.5 cm.). A hermit with long white hair and beard is seated in the entrance of

a rocky cave and before him is a royal youth; a servant approaches from the background

carrying a flacon. An unusual design of animal heads painted in dull orange decorates the

hermit's garment, and the youth's robes have a characteristic geometrical pattern in blue and

white. There is a pool in the foreground from which two varicolored birds are drinking. In the

large tree, entwined by a small tree with pink and white blossoms, are a green bird and a red

bird; a gray bird is flying overhead. The rich predominance of gold in this miniature, as in all

the others, forms a striking contrast to the wide red margin with its gold designs, and is

typical of the luxurious splendor in which the entire manuscript is decorated.

The style of painting of 'All Riza-i 'AbbasI in these miniatures can be characterized as

being ornate though delicate, precise, luxuriantly decorative, and in the manner of the late six

teenth century artists. The style reflects a strong calligraphic training such as that of 'AH

Riza-i 'Abbasi.

The presentation of this Djami manuscript will not add any confusion to the "Riza prob

lem," as it substantiates the current opinion that 'All Riza-i 'Abbasi is a different person from

Riza-i 'Abbasi. However, no longer can 'AH Riza-i 'Abbasi be referred to as "only a calligra

pher" since this manuscript proves him to be skilled not only in this art but also in the art of

painting.

31 Drawing of a seated shepherd in Sarre and Mitt

woch, op. cit., PL 37; cf. also Binyon, Wilkinson, and

Gray, op. cit., PL CXI, B317.



Fig. 5 Picnic Scene by 'Ali Riza-i 'Abbasi

Subhat al-Abrar, Sari, 1022 h. (1613-14 a.d.)



Fig. 6 -Two Men Reading by 'Ali Riza-i 'Abbasi Fig. 7 Lady and Seated Man by 'Ai.i Riza-i 'Abbasi

Subhat al-Abrdr, SarI, 1022 h. (1613-14 a.d.)



Fig. 8 Royal Youth and Shepherd by 'AlI Riza-i 'Abbasi Fig. 9 Royal Youth and Hermit by 'Ali Riza-i 'Abbasi

Subhat al-Abrar, SarI, 1022 h. (1613-14 a.d.)



alī riẓā-i 'abbāsī, calligrapher and painter

Documents