Page 77 - The Age of Sultan Suleyman the Magnificent

only the direct importation of the styles of Herat and Tabriz,
but also their absorption into the local traditions. One such
localization was observed in the decorative style of the master
of the Divan-i Selimi and copies of the works of Nevai and Ari-
fi. A second and far more indigenous style is found in the
sixteen paintings of the Hamse-i Nevai, transcribed by Piri
Ahmed b. iskender in 1530/1531. A work of imperial quality,
it continues the interest established in the 1498 Hamse-i Dih-
levi by incorporating local architectural settings into the
scenes. Several figure types recall those found in the illustra-
tions of the 1515 Yusufve Züleyha of Hamdi, indicating the
persistent impact of Herat.

33a (left). Capture of Ferhad by Hüsrev from the Hamse-i Nevai transcribed
in 1530/1531 (ístanbul, Topkapi Sarayí Müzesi, H. 802, fol. 99a)
33b (above). Lacquered binding from the Hamse-i Nevai transcribed in 15307
1531 (Istanbul, Topkapi Sarayí Müzesi, H. 802)

with its front paws, adding an unexpected but delightful, The illustrations of the Hamse-i Nevai appear to have been
whimsical touch to the scene. produced by two or possibly three artists. The majority belong
The depiction of the peaceable kingdom of Gayumars, who to the hand of the painter who executed the scene represent-
befriended and domesticated animals, frequently appears in ing the capture of Ferhad by Hüsrev's men (33a). Hüsrev,
sixteenth-century manuscripts. Its most spectacular version seated in his tent on the lower left, is being informed of the
was made by a Tabrizi artist for a copy of the Cahname pro- defeat of Ferhad by his messengers, who point to the men in
duced for Tahmasp between 1520 and 1540 and presented to the upper right carrying his fatally wounded rival. Another
Selim II in 1568. 60 figure in the background enacts the cruel battle by throwing
Manuscripts produced in the 1520s and 1530s show not rocks and crushing the head of an enemy. The composition

76