https://en.bharatpedia.org/w/index.php?action=history&feed=atom&title=Tarif-i_Husain_ShahiTarif-i Husain Shahi - Revision history2026-10-31T12:36:53ZRevision history for this page on the wikiMediaWiki 1.43.6https://en.bharatpedia.org/w/index.php?title=Tarif-i_Husain_Shahi&diff=539718&oldid=prevErmaT39411378: new a data2026-03-25T22:45:40Z<p>new a data</p>
<p><b>New page</b></p><div>{{Short description|16th-century illustrated manuscript}}<br />
{{infobox book<br />
| author = Aftabi<br />
| image = File:Husain Nizam Shah I on the Throne, Folio from manuscript Ta'rif-i Husain Shahi, Ahmadnagar, ca. 1565-69, Bharat Itihas Sanshodhak Mandal, Pune.jpg<br />
| caption = Folio 20b, Sultan Husain Nizam Shah enthroned. The image of the queen has been scraped off, and she can only be seen as a silhouette<br />
| language = [[Persian language|Persian]]<br />
| pub_date = {{circa|1565}}<br />
}}<br />
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'''''Kitab-i Tarif-i Husain Shah Padshah-i Dakan''''' (''Chronicle of Husain Shah, King of the Deccan''), generally known as '''''Tarif-i Husain Shahi''''' or '''''Tarif-i Husain Shah''''' is a 16th-century illustrated manuscript compiled in the [[Ahmadnagar Sultanate]]. <br />
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It is written in praise of the king [[Hussain Nizam Shah I|Husain Nizam Shah]] and his queen consort, [[Khunza Humayun Begum|Khunza Humayun]]. The sultan's victory at the [[battle of Talikota]] is a prominent feature of both the text and the illustrations. It is located at the [[Bharat Itihas Sanshodhak Mandal]].<ref name=":0">{{Cite book |last1=Michell |first1=George |url=https://the-deccan.in/wp-content/uploads/2019/10/cambridge_history_michell_zebrowski_art_architecture_deccan_sultanates.pdf |title=Architecture and Art of the Deccan Sultanates |last2=Zebrowski |first2=Mark |date=1999-06-10 |publisher=Cambridge University Press |isbn= |pages=145–147}}</ref><br />
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== History ==<br />
It is dated to the middle of the 16th-century.<ref name=":0" />{{Sfn|Sohoni|2018|p=46}} [[Stella Kramrisch]] suggested that the manuscript may not have been a royal commission, given the indigenous style of the paintings. However, modern scholars including [[Pushkar Sohoni]] and Mark Zebrowski agree that it was compiled with royal patronage.{{sfn|Sohoni|2018|p=42}}<br />
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It is a matter of contention among scholars as to whether the manuscript was completed by the time of Husain Nizam Shah's death. Zebrowski points out that since his death is not mentioned, it must have been produced between the victory at Talikota, in early 1565 and Husain Shah's death, later the same year.{{sfn|Sohoni|2018|p=42}}{{sfn|Zebrowski|1983|pp=17}} However, the fact that [[Khunza Humayun Begum|Khunza Humayun]] features so prominently in both the text and the illustrations suggests that it might have been completed during her regency.{{Sfn|Sohoni|2018|p=44}}<br />
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== Text ==<br />
It belongs to the [[mathnawi]] genre.{{Sfn|Sohoni|2018|p=41}}<br />
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== Paintings ==<br />
[[File:Tarif E Hussain Shahi I.tif|thumb|Folio 29a depicts the ''dohada'' theme.]]<br />
[[File:Battle of Talikota (formatted).jpg|thumb|Battle of Talikota]]<br />
It originally contained fourteen illustrations, of which 12 survive. All of the paintings are in a vertical format, and the size ranges from 18 by 12 cm to 18 by 15 cm. The paintings have little to do with the text.{{sfn|Sohoni|2018|pp=41-42, 45}}<br />
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Five of the paintings illustrate courtly life, and six illustrate the campaign against Vijayanagara. Thus, eleven of the twelve paintings depict ''razm-o-bazm'' (feasting and fighting), which commonly features in [[Persian art|Persian]] art.{{Sfn|Sohoni|2018|p=42}}<br />
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The folios 20b, 21b, 26b, 36a and 40b depict court life. In these, the queen [[Khunza Humayun Begum|Khunza Humayun]] was featured, in Indian poses, such as sitting on her husband's lap. Such poses were common in the representation of Hindu gods. These paintings were unorthodox for a work commissioned for the court of a Muslim kingdom. The images of the queen have been scraped off, probably during the reign of her son Murtaza I.{{sfn|Sohoni|2018|p=44}}{{sfn|Zebrowski|1983|pp=18}}<br />
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The folio 29a shows the ''dohada'' theme, where a tree blooms at the touch of a young woman. The young woman here is the queen Khunza Humayun, and the painting symbolizes the kingdom's prosperity during her reign. However, her image is not scraped off. Six women surround her, all being dressed in [[sari]]s.{{sfn|Sohoni|2018|p=42}}{{sfn|Zebrowski|1983|pp=18}}<ref>{{Cite book |last1=Museum |first1=Salar Jung |url=https://books.google.com/books?id=Qm63aoHBPZEC&q=tarif+i+husain+shahi+dohada |title=Gulshan-e-muṣawwari: Seven Illustrated Manuscripts from the Salar Jung Museum, Hyderabad |last2=Khandalavala |first2=Karl J. |last3=Khan |first3=Rahmat Ali |date=1986 |publisher=Salar Jung Museum |language=en}}</ref><br />
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The folios 34b, 43b, 44a, 45b, 46b and 47a depict the campaign against [[Vijayanagara Empire|Vijayanagara]]. Husain Shah is seen in five of these paintings.{{sfn|Zebrowski|1983|pp=18}}<br />
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==References==<br />
{{reflist}}<br />
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== Bibliography ==<br />
* {{Cite book |last=Sohoni |first=Pushkar |author-link=Pushkar Sohoni |title=The Architecture of a Deccan Sultanate: Courtly Practice and Royal Authority in Late Medieval India |date=2018 |publisher=I. B. Tauris & Co. Ltd}}<br />
*{{Cite book |last=Zebrowski |first=Mark |url=https://archive.org/details/dli.ministry.25577/page/17/mode/2up |title=Deccani painting |date=1983 |publisher=Roli Books International, New Delhi}}<br />
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[[Category:Indian manuscripts]]<br />
[[Category:16th-century Persian books]]<br />
[[Category:16th-century illuminated manuscripts]]<br />
[[Category:Ahmadnagar Sultanate]]<br />
[[Category:Mathnawis]]</div>ErmaT39411378