Khalili Collection of Islamic Art in the context of "Jami' al-tawarikh"

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⭐ Core Definition: Khalili Collection of Islamic Art

The Nasser D. Khalili Collection of Islamic Art includes 26,000 objects documenting Islamic art over a period of almost 1400 years, from 700 AD to the end of the twentieth century. It is the largest of the Khalili Collections: eight collections assembled, conserved, published and exhibited by the British scholar, collector and philanthropist Nasser David Khalili, each of which is considered among the most important in its field. Khalili's collection is one of the most comprehensive Islamic art collections in the world and the largest in private hands.

In addition to copies of the Quran, and rare and illustrated manuscripts, the collection includes album and miniature paintings, lacquer, ceramics, glass and rock crystal, metalwork, arms and armour, jewellery, carpets and textiles, over 15,000 coins, and architectural elements. The collection includes folios from manuscripts with Persian miniatures, including the Great Mongol Shahnameh, the Shahnameh of Shah Tahmasp, and the oldest manuscript of world history the Jamiʿ al-tawarikh. Among its collections of arms and armour is a 13th-century gold saddle from the time of Genghis Khan.

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👉 Khalili Collection of Islamic Art in the context of Jami' al-tawarikh

Jāmiʿ al-Tawārīkh (lit.'The Compendium of Chronicles') is a work of literature and history, produced in the Mongol Ilkhanate. Written by Rashid al-Din Hamadani (1247–1318 AD) at the start of the 14th century, the breadth of coverage of the work has caused it to be called "the first world history". It was in three volumes and published in Arabic and Persian versions.

The surviving portions total approximately 400 pages of the original work. The work describes cultures and major events in world history from China to Europe; in addition, it covers Mongol history, as a way of establishing their cultural legacy.The lavish illustrations and calligraphy required the efforts of hundreds of scribes and artists, with the intent that two new copies (one in Persian, and one in Arabic) would be created each year and distributed to schools and cities around the Ilkhanate, in the Middle East, Central Asia, Anatolia, and the Indian subcontinent. Approximately 20 illustrated copies were made of the work during Rashid al-Din's lifetime, but only a few portions remain, and the complete text has not survived. The oldest known copy is an Arabic version, of which half has been lost, but one set of pages is currently in the Khalili Collection of Islamic Art (London, England), comprising 59 folios from the second volume of the work. Another set of pages, with 151 folios from the same volume, is owned by the Edinburgh University Library. Two Persian copies from the first generation of manuscripts survive in the Topkapı Palace Library in Istanbul. The early illustrated manuscripts together represent "one of the most important surviving examples of Ilkhanid art in any medium", and are the largest surviving body of early examples of the Persian miniature.

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Khalili Collection of Islamic Art in the context of Khalili Collections

The Khalili Collections are eight distinct art collections assembled by Nasser D. Khalili over five decades. Together, the collections include some 35,000 works of art, and each is considered among the most important in its field.

Among these are the largest private collection of Islamic art, with 26,000 objects. A separate collection includes around 5,000 objects relating to the Hajj, spanning from the 7th century AD to the present day. From Japan, there are 2,200 pieces of Meiji era decorative art and another collection of more than 450 kimono, covering a 300-year period. The most comprehensive private collection of enamels, with over 1,500 pieces, includes examples from China, Japan, Europe, and Islamic lands. The eight collections also include 100 flatweave textiles from southern Sweden, 150 examples of Spanish damascened metalwork (i.e. with metal inlaid into other metal), and 48 Aramaic documents from 4th century-BC Bactria. These various collections show two themes that commonly motivate private collections: collecting examples of the highest artistic merit and forming complete series.

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Khalili Collection of Islamic Art in the context of Belt (clothing)

A belt is a flexible band or strap, typically made of leather, plastic, or heavy cloth, worn around the natural waist or near it (as far down as the hips). The ends of a belt are free; and a buckle forms the belt into a loop by securing one end to another part of the belt, at or near the other end. Often, the resulting loop is smaller than the hips. Belts come in many lengths because of the variety in waist sizes, and most belts can be adjusted at the buckle to suit the wearer's waist.

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Khalili Collection of Islamic Art in the context of Eldiguzids

The Ildegizids, Eldiguzids or Ildenizids, also known as Atabegs of Azerbaijan (اتابکان آذربایجان Atabakan-e Āzarbayjan), were an Atabegate of the Seljuk Empire, and a Sunni Muslim Turkic dynasty (started by Eldiguz of Kipchak origin), which controlled most of northwestern Persia, eastern Transcaucasia, including Arran, most of Iranian Azerbaijan, and Jibal. At their maximum extent, the territory under their control, roughly corresponds to most of north-western Iran, most of the regions of modern Azerbaijan and smaller portions in modern Armenia (southern part), Turkey (northeastern part) and Iraq (eastern part). Down to the death in war 1194 of Toghril b. Arslan, last of the Great Seljuq rulers of Iraq and Persia, the Ildenizids ruled as theoretical subordinates of the Sultans, acknowledging this dependence on their coins almost down to the end of the Seljuqs. Thereafter, they were in effect an independent dynasty, until the westward expansion of the Mongols and the Khwarazm-Shahs weakened and then brought the line to its close.

Atabeg (literally "father-lord" in Turkic) was the title conferred upon the Turkic officers who served as guardians of minor Seljuq rulers. In the political circumstances of the time, Atabegs were not only tutors and vice-regents of their princes, but also de facto rulers. At the height of Eldiguzid power, their territory stretched from Isfahan in the south to the borders of Kingdom of Georgia and Shirvan in the north. However, closer to the end of their reign amidst continuous conflicts with the Kingdom of Georgia, the Eldiguzid territory shrank to include only Azerbaijan and eastern Transcaucasia.

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