This article offers a new perspective on the relationship between manuscript production in Shiraz under the Timurids and in the Sultanate states of South Asia. During the so-called long fifteenth century, between Timur's invasion in 1398 and Humāyūn's return to India in 1555, there was a surge of creativity in the arts, despite the fractured political landscape of multiple courts. The resulting material culture is vibrant and diverse and belies prevalent historiography, which often portrays this period as culturally barren. The discussion will focus on an illustrated copy of the Shāhnāma of Firdausi dated 843/1440, currently in the Khuda Bakhsh Library in Patna, once owned by Muḥammad Shāh, Sultan of Gujarat. A study of this manuscript and its cultural context challenges the notion that ‘outmoded’ traits are the key criteria of a Persian manuscript's possible Sultanate origin. This article further aims to initiate a re-examination of the reception and dispersal of Persian manuscripts in the Indian Sultanates and the future lives of a particular group of manuscripts made in Shiraz.

本文对帖木儿王朝设拉子手稿制作与南亚苏丹国手稿制作之间的关系提供了新的视角。在所谓的漫长的 15 世纪，从 1398 年帖木儿入侵到 1555 年胡马雍返回印度之间，尽管多个法院的政治格局支离破碎，但艺术的创造力却激增。由此产生的物质文化是充满活力和多样化的，并且掩盖了流行的史学，后者经常将这一时期描绘成文化贫瘠的时期。讨论将集中在Shāhnāma的插图副本上Firdausi 的日期为 843/1440，目前在巴特那的 Khuda Bakhsh 图书馆，曾为古吉拉特邦苏丹 Muḥammad Shāh 所有。对这份手稿及其文化背景的研究对“过时的”特征是波斯手稿可能起源于苏丹国的关键标准这一观念提出了挑战。本文进一步旨在重新审视波斯手稿在印度苏丹国的接受和传播，以及在设拉子制作的一组特定手稿的未来生活。