ABSTRACT

The subject of this paper is a striking copy of the Sharafnama by Nizami dated 938/1531–2, made for the ruler of Bengal, Nusrat Shah (r.1519–32). This slim volume contains nine vibrant paintings that show the assimilation of both Indic and Persian artistic traditions: adaptations common to several fifteenth-century manuscripts from the Indian sultanates. However, there are no other surviving manuscripts that were produced in the court of the Bengal Sultanate, and no evidence of commercial workshops in the region. Therefore, it is a challenge to situate this Sharafnama. Since the manuscript was published some forty years ago, there have been only a few cursory mentions in general discussions. This paper aims to contextualise this manuscript within Indo-Persian pictorial and narrative traditions. The Sharafnama can be better understood in this context of both local traditions and wider Persianate culture.

摘要

本文的主题是Nizami 938/1531-2 年为孟加拉统治者努斯拉特·沙阿 (Nusrat Shah，1519-32 年在位) 创作的Sharafnama的醒目副本。这本纤薄的卷包含九幅充满活力的画作，展示了印度和波斯艺术传统的同化：对来自印度苏丹国的几个 15 世纪手稿的常见改编。然而，孟加拉苏丹国的宫廷中没有其他幸存的手稿，也没有该地区商业作坊的证据。因此，定位这个Sharafnama是一个挑战. 自从手稿在大约四十年前出版以来，在一般性讨论中只有少数粗略的提及。本文旨在将这份手稿置于印波斯图画和叙事传统的背景中。该Sharafnama可以在当地的传统和广泛的Persianate文化的语境中得到更好的理解。