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चित्र:Mu'nis al-ahrar Frontipiece, 1341.jpg

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बिबरणMu'nis al-ahrar Frontipiece, 1341.jpg
English: Mu'nis al-ahrar Frontipiece, 1341. Depiction of the Il-khanid ruler of the city of Isfahan in February-March 1341.
  • "Since any evidence of the identity of the princely couple portrayed in the frontispiece of the Mu'nis al-abrar that might have been provided by the dedicatory rosette must unfortunately be dismissed because of the damage to the page, it is impossible to positively identify the two figures. However, the presence of the rosette indicates that Ibn Jājarmī wished to dedicate his work to a personage who, about Ramadan 741/February-March 1341, presumably had gained control of his town. It seems almost certain that he came to his decision when he completed his work since there is no mention of a patron in the preface of the manuscript, as would be expected if Ibn Jājarmī had begun to compile the manuscript under someone's aegis." in (१९९४) Illustrated Poetry and Epic Images. Persian paintings of the 1330s and 1340s, Category:New York: Metropolitan Museum of Art, p. 17
  • "The political situation in Isfahan and Shiraz before and about 1341 was confused.41 After the death of Abū Said in 1335, Isfahan was indirectly controlled by the Chūbanid Shaykh Hasan, who installed the Ilkhanid Sulayman as ruler of the region, but local leaders, among whom was a member of the Lunbānī family, made the town almost independent." in (१९९४) Illustrated Poetry and Epic Images. Persian paintings of the 1330s and 1340s, Category:New York: Metropolitan Museum of Art, p. 17
  • "This scene is easily recognized as Īlkhanid in both its composition and in the costumes worn by all the figures. The attendants are dressed in plain short-sleeved tunics fastened at the right and decorated only by thin bands on the sleeves; they all wear a typical Mongol cap with a turned-up brim except for the figure holding the fan, whose pointed hat indi-cates her different social status. The princess's short-sleeved gold tunic is richly embroidered with large flowers; she appears to be bareheaded although it is possible she is wearing a thin veil. The prince is sumptuously dressed: His short-sleeved blue tunic has an embroidered roundel on the chest and is fastened by a gold belt; the sleeves of the white shirt under his tunic are richly decorated with what seems to be an inscribed tiraz band. The prince's hat is very elaborate: It is probably fur brimmed, a long flap extends out from the back, and it is crowned by two large owl feathers and seven long eagle feathers. This type of headdress is often represented in Il-khanid paintings, always in royal or princely scenes, such as the frontispiece of the Tārīkh-i jahān-gusha of 689/1290 (Bibliothèque Nationale, Paris), a section of the Jami al-tavārīkh completed in 714/1314 (Nasser D. Khalili Collection), as well as in the now-dispersed Great Ilkhanid Shāhnāma of about 1330-35 (fig. 4)." in (१९९४) Illustrated Poetry and Epic Images. Persian paintings of the 1330s and 1340s, Category:New York: Metropolitan Museum of Art, p. 12
  • "Wright (1997), 45-46. Here Wright also cites a personal conversation with Stefano Carboni (September 1994) concerning the possibility that the Mu'nis al ahrar's enthroned couple might represent Sadi Beg, the sister of the Ilkhanid ruler Abu Sa'Id, with either her husband or her son. While agreeing with Wright that the woman may be the more important figure in this scene and perhaps even the manuscript's patron (because of her position to the right of the man), Carboni's own most recent view is only that the painting doubtless represents a Mongol royal couple, without venturing any specific identifications." in (२००६) Beyond the legacy of Genghis Khan, Leiden ; Boston: Brill, p. 238, note 46 ISBN: 978-9004150836.
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