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Jami' al-tawarikh

Jāmiʿ al-Tawārīkh (Arabic: جَامِعْ اَلتَوَارِيخُ, Persian: مجموعه تاريخ; lit.'Compendium of Chronicles', also "Universal History") is a work of literature and history, produced in the Mongol Ilkhanate.[1] 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".[2] 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.[3] 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, 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",[4] and are the largest surviving body of early examples of the Persian miniature.

From Iran, it is very similar to work by , a Persian historian who wrote an account of the Mongol Empire entitled Tārīkh-i Jahāngushāy "History of the World-Conqueror". Also from Iran, the Shahnameh is drawn upon.[10]

Ata-Malik Juvayni

For Europe, the Chronicle of the Popes and the Emperors of

Martin of Opava

For the Mongols, it seems that he had access to the , through the ambassador of the Great Khan to the court of the Il-Khanate.

Altan Debter

For China, the author knew the translation of four Chinese manuscripts: three on medicine and one on administration. Furthermore, it is known that he enjoyed calligraphy, painting and Chinese music. The links with this world were made all the easier because Mongols also ruled China.

The Painter of : the most influenced by China (reflected in Chinese elements, such as trees, interest in the landscape, interest in contemplative characters). The work is characterized by open drawing, minimal modelling, linear drapery, extensive details, stripped and balanced compositions, delicate and pale colours, and a rare use of silver. He painted mostly the early miniatures, and may have been assisted by the Master of Tahmura.

Iram

The Painter of : characterized by a variety of subjects, including many throne scenes, a variable and eclectic style, quite severe and angular drapery, a variety of movements, stripped and empty backgrounds. His absence of interest in landscape painting shows a lack of Chinese influences, which is compensated for by inspiration from Arab, Syrian and Mesopotamian painting. His work is of variable quality, and uses silver systematically. His assistant: the Master of Scenes from the Life of the Prophet.

Lohrasp

The Master of the Battle Scenes: a somewhat careless painter, as becomes evident when the number of arms does not match the number of characters, or a leg is missing among the horses. He is notable for a complete lack of focus and horror, and for strong symmetry, his compositions usually comprising two parties face to face composed of a leader and two or three followers. Decoration is limited to grass, indicated in small vegetative clumps, except during sieges and attacks on the city.

The Master of appears briefly, at the end of the manuscript. His style is crude and unbalanced, his characters often badly proportioned.

Alp Arslan

Secret History of the Mongols

Hillenbrand, Carole; Hillenbrand, Robert (2018). "Ancient Iranian Kings in the World History of Rashid Al-Din". Iran: Journal of the British Institute of Persian Studies. 56 (1): 34–46. :10.1080/05786967.2018.1426190. hdl:10023/18244. S2CID 194015132.

doi

Kamola, Stefan (2 January 2020). "A Sensational and Unique Novelty: The Reception of Rashid al-Din's World History". Iran. 58 (1): 50–61. :10.1080/05786967.2018.1544836. S2CID 192843887.

doi

Mirahmadi, Sara (2021). . Iran: Journal of the British Institute of Persian Studies. 61 (2): 221–234. doi:10.1080/05786967.2021.1889929.

"Legitimising the Khan: Rashid al-Din's Ideological Project from a Literary Aspect"

Online text: Elliot, H. M. (Henry Miers), Sir; Dowson, John (1871). . The History of India, as Told by Its Own Historians. The Muhammadan Period (Vol 3.). London: Trübner & Co.{{cite book}}: CS1 maint: multiple names: authors list (link)

"10. Jámi'u-t Tawáríkh, of Rashid-al-Din"

Hillenbrand, Robert, , 2010 Aspects of Art Lecture, British Academy

"Propaganda in the Mongol ‘World History’"

Paul Lunde and Rosalind Mazzawi, , Saudi Aramco World, January 1981, describing the copy now in the Khalili collection

A History of the World

Timeline of Art History, Metropolitan Museum of Art

Folios from the Jami' al-tavarikh

Edinburgh pages in an exhibition at Cambridge

Online scan of the Edinburgh manuscript

Khalili Collection: The Jami‘ al-Tawarikh of Rashid al-Din

Devatasutra in the Arabic Compendium of Chronicles of Rashid al-Din

Illustrations in the 1305-14 Jami‛ al-Tawarikh by Rashid al-Din. Edinburgh Or 20 & Khalili 727.