taṣnīf-i Mīr Inshaʼ Allāh Khān va niṣf-i s̲ānī-i muʼallifah-i Mirzā Muḥammad Ḥusayn Qatīl.Title from colophon.In Persian and Urdu.تصنيف مير انشاء الله خان و نصف ثاني مولفه ميرزا محمد حسن.
Abstract: Collection of poems arranged in five sections by genre, including qaṣīdahs, ghazals, mathnawī, and quatrains, some pieces in Persian.Binding note: Dark green leather with silver tooling and stamping. Marbled paper pastedowns.Ms. codex.Title supplied by cataloger.Physical description: 13 lines per page separated in two columns at hemistich by two vertical ruled lines in red ink. Text is framed in red, gold, and black ruled lines. Outer frame in black. Titles in red in panels defined by a red ruled line.Decoration: Contains ten miniatures representing among others ʻAlī, and princes on fol. 4b, 19b, 37a, 55b, 58b, 84b, 213a, 286b, 311a, 334b.Decoration: The two first pages of the text (fol. 1b-2a) are elaborately illuminated, with floral decor in gold on the margin ; text written in clouds left plain on a gold ground. Illuminated headpiece in gold and colors with a floral motif on fol. 1b. The beginning of each section is decorated in a similar way (fol. 105b-106a; 178b-179a; 194b -- headpiece only; 361b-362a; 416a). Illuminated cartouche with basmalah on fol. 111b.Chiefly quaternions.Origin: Probably India, 19th cent.Incipit: بسم ... هو آجب ... فى البعث ومنقيت حضرت رسالت بناه وخباب امير المومنين عليه الصلواة والسلام
History of Indian Muslim kings and rulers, 12th to 19th century.[Muḥammad G̲ẖulām Imām Ḵẖān Tarīn].Includes index.In Urdu.[محمد غلام امام خان ترين].Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2009. (Open Collections Program at Harvard University. Islamic Heritage Project). Copy digitized: Widener Library: HXGT53.
taʼlīf kardah-ʼi Mawlavī Muḥammad Mahdī Ṣāḥib Vāṣif.Lithographed.Date taken from colophon: Jum. I, 1277 [1860].In Persian and Urdu.Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2009. (Open Collections Program at Harvard University. Islamic Heritage Project). Copy digitized: Widener Library: Ind L 6663.15 .
Abstract: Illuminated copy of Sihr al-Bayān, a love story with fabulous elements between prince Bīnaẓīr and princess Badr-i Munīr, completed in 1199/1785 (EI²). The text is preceded on fol. 1a-3a by verses of poetry and prayers in Persian and Arabic.Ms. codex.Title provided by cataloger.'Physical description: 12 lines per page. Written in medium large nastaʻlīq in black ink, with use of red for headings and miniatures\' caption. The text is framed in goldredand blackwith an outer frame consisting of a single black line. Two columns separated by double lines in black ink. Some miniatures are protected by a smaller piece of paper pasted on the inner marginwith inscriptions. Inscription in Roman script on fol. 1areading: "Adjudan or: Adjudah? Sing Sepay / Company".'Decoration: Illuminated headpiece with basmalah, executed in gold and colors (fol. 3b). Contains sixteen miniatures.Miniature 1 (fol. 12b): King, attendants and visitors.Miniature 2 (fol. 17a): The birth of Prince Bī Naẓīr ("Tavallud-i Shāhzādah Bī Naẓīr").Miniature 3 (fol. 21a): Prince and five female characters in a garden, with parrots in cages.Miniature 4 (fol. 23b): Shāhzādah at the ḥammām ("Dar āmadan Shāhzādah dar ḥammām"), with four attendants, one holding a mirror where one sees a reflection of the main character."Miniature 5 (fol. 29a): Shāhzādah taken in the air by Parī's."'Miniature 6 (fol. 33b): Shāhzādah wakes up in the land of the Parī\'s ("Bīdār shudan-i Shāhzādah dar Parīstān").'Miniature 7 (fol. 36a): Presentation of a winged horse by a Parī to Shāhzādah; the painting also shows two female attendants and a dīv.Miniature 8 (fol. 41b): Bī Naẓīr dismounts his winged horse, and meets Badr-i Munīr.Miniature 9 (fol. 47a): Bī Naẓīr and Badr-i Munīr drink together ("Sharābkashī bā hamdigar"); the painting also shows two female attendants and the winged horse.Miniature 10 (fol. 53a): Bī Naẓīr and Badr-i Munīr "unite" ("wiṣāl bā yakdigar"), with two female attendants.'Miniature 11 (fol. 56b): Bī Naẓīr is put in the well by dīv\'s ("Dar chāh andakhtan-i Bī Naẓīr"); the painting shows three dīv\'sa parī and a female attendant.'Miniature 12 (fol. 69b): The despair of Badr-i Munīr; the painting shows Badr-i Munīr and four other female characters."Miniature 13 (fol. 72b): Fīrūz Shāh hears about the story; the painting shows a winged prince on a throne carried by two winged Parī's and a female character; animals including a snakea tigerand a bearare sitting in the fore-gound."'Miniature 14 (fol. 80b): Bī Naẓīr is taken out of the well ("Birūn kashīdan-i Bī Naẓīr az chāh"); the painting shows Bī Naẓīr on the shoulders of a dīv; two other dīv\'sthe winged prince and a female character are also present.'Miniature 15 (fol. 93a): The wedding of Bī Naẓīr and Badr-i Munīr ("Nikāḥ-i Bī Naẓīr bā Badr-i Munīr"). The painting shows Bī Naẓīr sitting in front of two men; in the foreground are Badr-i Munīr and two men sitting.Miniature 16 (fol. 98a): Bī Naẓīr meets the parents ("mulāqāt-i Bī Naẓīr bā padar u mādar").Origin: The copy is not dated.Incipit: كرون پيلى توحيد يزدان رقم چهكا جكى سجده
Muḥammad Ḥusayn Ḵẖān Ṣāḥib.Title and imprint taken from colophon.In Urdu.محمد حسين خان صاحب.Electronic reproduction. Cambridge, Mass. : Harvard College Library Digital Imaging Group, 2009. (Open Collections Program at Harvard University. Islamic Heritage Project). Copy digitized: Widener Library: HXGT95.
Genre/Subject MatterThis image depicts the Bab ‘Anbari, one of eight gates in the outer wall of the city of Medina al-Munawarah, each of which is listed in the surrounding prose on the right-hand side of the mount. In the distance, through the arch of the gate, the minarets of the Masjid al-Nabawi (Prophet’s Mosque) are visible.The writer of the prose asserts that the majority of pilgrims on the hadj would have entered the city through this gate, located in the southwest of the city. The significant role played by Ottoman troops in overseeing the hadj during this period is indicated by the reference in the surrounding prose, the prominent position of Ottoman insignia above the gate, including the
toughraof Sultan Abdulhamid II and the inclusion of an Ottoman soldier, posed in the open archway.InscriptionsRecto:Upper centre: 'Picture of the Bab 'Anbari'‘How beloved is this Bab 'Anbari;The star of the pilgrims' eyesIndeed, it is the main gate of MedinaIt seeks you and is your goal.’To the right and left of the image:‘Medina, the radiant, has eight gates:1) Bab al-Quba2) Bab al-'Awali3) Bab al-Jum'a4) Bab al-Majidi5) Bab al-Shami6) Bab al-Qubba7) Bab al-Saghir8) Bab al-'AnbarThe Bab 'Anbari is the gate by which pilgrims on the hajj and pilgrims to the tomb of the Prophet generally enter Medina the Radiant. This gate has been built with great splendour. On its front is the royal insignia, and above flutters the flag with the royal banner in a wondrously alluring manner. This flag is raised on Fridays. Here, as at the other gates, there is a Turkish [Ottoman] guard from the royal army. It is not possible to describe either the state of the lovers of the Prophet when they see this gate or the rapture of the fervour in their hearts. The joy they experience on reaching here is beyond expression. It is a matter to which the saying, “By God, you will not know the delight of this wine until you taste it,” is applicable. This gate is bigger than all the other gates. From here the minarets of the sacred sanctuary are visible.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘8’ ‘145’Verso:In pen, upper right corner:IO/1454th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):‘145 H. A. Mirza and Sons, Photographers.نقشه باب عنبری (Naqsha-i-Báb-i-Ambri. Aphoto of the Báb-i-Ambri, one of the gatesat Medina, with a brief description.) Onesheet.
Published by the Photographers:Delhi.(Octr. 15, 1907.) 14 x 18º.Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘The Bab-i-Ambri, one of the gates at Medina'1 b&w photographic print held within a blue card window mountDimensionsMount (external): 348 x 445 mmMount (internal): 202 x 276 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with very light staining along all edges. Very light staining is also visible on the paper verso backing, which is under-laid by cotton strips.The print shows signs of extensive toning and is distorted gently throughout. Blemishes throughout the sky area result from a combination of those introduced during the printing process and post-printing surface residues.Foliation8 (145)ProcessGelatin silver print