The Metropolitan Museum of Art Bulletin, v. 29, no. 8 (April, 1971)

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One of the most evocative characteristics of the Houghton manuscriptis its lively description of contemporary life, especially when the artistsyielded to their penchant for caricature. While the Turanians Devastatethe Besotted Iranian Camp (Figure 4) illustrates one of the darker momentsin the wars between Turan and Iran, the artist appears to have beenpoking fun at the Safavid military establishment. Tents, costumes, andother accouterments are accurately contemporary. On stylistic grounds,this miniature can be assigned to a follower of Sultan-Muhammad, theoutstanding artist of the court of Shah Isma'il who later became the leadingmaster of Shah Tahmasp's ateliers. Less progressive than the majorpainters, this assistant never fully adjusted to the impact of Bihzad, butwhen he was at the peak of his form, as here, he painted with compellingverve. His craggy profiles, soldiers resembling sacks stuffed with rocks,and goggle-eyed horses identify his style unmistakably.4. The Turanians Devastate the Besotted Iranian Camp.117/8 x 9/8 inches. Fol. 241r. 1970.301.36
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Page 3 and 4: 78 Pictures from a World ofKings, H
Page 5 and 6: The Houghton Shah-nameh is a remark
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Page 19 and 20: 8. The Assassination of Khusraw Par
Page 21 and 22: The Temperamentof Juan GrisDOUGLAS
Page 23 and 24: Harlequin with Guitar, 1917, by Gri
Page 25 and 26: an overriding classical discipline.
Page 27 and 28: 4 14MChanin Building, 1929122 East
Page 29 and 30: Chrysler Building, 1930405 Lexingto
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Page 35 and 36: Most of the art of the Cameroon Gra

The Metropolitan Museum of Art Bulletin, v. 29, no. 8 (April, 1971)

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