By Richard M Barnhart, John P. O'Neill & Joan S. Ohrstrom, WalterJ.F Yee, Gerald Pryor
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323–37. Unfortunately, it is not noted if the paintings are original or pasted. However, one of the paintings in particular (ﬁg. 8 in Fehérvári’s article) seems to be a collage of two fragments. 24. Tercüme-i Hamse-i Nizamî, Topkapæ Palace Library, H. 1115, fol. 112, a and b. palatial towers of nasir al-din shah 33 KAVEH BAKHTIAR PALATIAL TOWERS OF NASIR AL-DIN SHAH Palatial tower structures in garden settings have long been a familiar part of the architectural landscape of Iran and its neighbors.
1115, fol. 112, a and b. palatial towers of nasir al-din shah 33 KAVEH BAKHTIAR PALATIAL TOWERS OF NASIR AL-DIN SHAH Palatial tower structures in garden settings have long been a familiar part of the architectural landscape of Iran and its neighbors. 4 This architectural tradition carried on into the Qajar period, during which tower structures continued to be part of palace complexes. Numerous examples can be found described in the sources. 7 Following this practice, Nasir al-Din Shah commissioned his architects to include towers in some of his palaces that formed part of his extensive building program, not only in the capital but also in the provincial centers.
In the selection of themes and iconography, the illustrative programs of Ahmedî’s ~skendernâme also rely heavily on the models developed for both the Iskandar cycle in the Sh¸hn¸ma and Nizami’s Iskandarn¸ma. For instance, in several chapters in Ahmedî’s poem, ~skender’s feats of slaying gigantic dragons are narrated, in order to portray his extraordinary powers and intelligence. In one of these stories ~skender, after conquering India, spends his time hosting courtly gatherings and enjoying the springtime.
Along the Border of Heaven by Richard M Barnhart, John P. O'Neill & Joan S. Ohrstrom, WalterJ.F Yee, Gerald Pryor