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15 mars 2014

Two great Persian illustrated manuscripts for sale at Bonhams in London

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The Book of Kings, is estimated at £40,000 to £60,000. Photo: Bonhams

LONDON - Bonhams sale of Indian and Islamic art on April 8th in London features two rare and beautiful illustrated manuscripts covering many aspects of courtly life and epic deeds – one with 110 exquisite images and one with 65.

The first, The Book of Kings, is estimated at £40,000 to £60,000, and the second, The Book of Akbar, is estimated to sell for £30,000 to £50,000.

The Book of Kings, the great Persian epic poem by Firdausi, originally composed in the 11th Century, is lavishly illustrated with one hundred and ten miniatures, copied by the scribe Nizam-ad-Din, formerly in the library of the last Nawab of Bengal, North India, probably Kashmir, dated 3rd Jumada al-Thani AH 1244/ 11th November AD 1828.

Faridun Jah was the last Nawab of Bengal. He was born at Murshidabad in 1830 and succeeded to the throne on the death of his father in October 1838. The East India Company reduced his honours from a 19-gun to a 13-gun salute for his alleged complicity in the murder of two servants in 1854. Following a long period of financial embarrassment, he was forced to renounce all his rights in return for the liquidation of his debts and a generous annual pension of £10,000. He left for England in 1869, living in Maidenhead, and remained there until his return to India in 1881, though not before abdicating in favour of his eldest son in 1880. He died of cholera at Murshidabad in 1884

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Firdausi, Shahnama, The Book of Kings, lavishly illustrated with one hundred and ten miniatures, copied by the scribe Nizam-ad-Din, formerly in the library of the last Nawab of Bengal, North India, probably Kashmir, dated 3rd Jumada al-Thani AH 1244/ 11th November AD 1828. Photo: Bonhams

Persian manuscript on thin cream-coloured paper, 561 leaves, 25 lines to the page written in four columns of neat nasta'liq script in black ink, interlinear gilt cloudband decoration, intercolumnar rules with gilt vegetal decoration on blue ground, inner margins ruled in blue and gold, catchwords, headings written in blue on gilt rectangular panels, one finely illuminated frontispiece in two shades of gold and blue, inner borders decorated with intertwining flower heads in red, white and blue, three illuminated headpieces marking the beginning of books II to IV of the Shahnama, three seal impressions and Persian inscription on folio 1r, later green morocco gilt, doublures of red paper, spine loose, covers of Indian brocade; leaf 290 x 176 mm 

Provenance: Private US collection since 1930;
Poohoomull Bros., dealers ('shippers of certain Artistic Antiquities'), Bombay, from March 1930 (according to a typewritten note accompanying the manuscript);
Muhammad Abdullah Khatkhatoy (unidentified), of Hyderabad, Deccan (according to the note);
'Mir Ghazanfar 'Ali, a member of the family of the Nizam of Hyderabad (late 19th Century);
Faridun Jah's first wife, Shams-e Jahan Baygum Sahiba (1830-1905);
Faridun Jah, Muntazim ul-Mulk, Mohsin ud-Daula, Nawab Sayyid Mansur 'Ali Khan Bahadur, Nusrat Jang, Nawab Nazim of Bengal, Bihar and Orissa (1830-1884, reg. 1838-1880).

The seal impressions on folio 1r. are as follows:

Single seal: Mir Ghazanfar 'Ali [AH] 1312/ AD 1894-5.

Note above the sealNomreh 86. Shahnameh ma'a tasvirat khosh-khatt kateb na-ma'lum nayab
'No. 86. Shahnama with illustrations, [written] in a fine hand, unknown scribe, rare'.
The seal: Muntazim al-Mulk, Muhsin al-Dawla, Faridun Jah Sayyid Mansur 'Ali Khan Nusrat Jang Bahadur 12[?]6

Note below the seal: az ketab-khaneh-ye sarkar-e fayz athar 'enayat be-navvab shams-e jahan beygom saheba sana 1276
'From the Library of the one who has vestiges of grace, it was given to Nawab Shams-e Jahan Baygum Sahiba, the year AH 1276/ 1859-60'.

The seal: Nawwab Shams Jahan Baygum, the year 1262 of the hijra/ AD 1846).

Faridun Jah was the last Nawab of Bengal. He was born at Murshidabad in 1830 and succeeded to the throne on the death of his father in October 1838. The East India Company reduced his honours from a 19-gun to a 13-gun salute for his alleged complicity in the murder of two servants in 1854. Following a long period of financial embarrassment, he was forced to renounce all his rights in return for the liquidation of his debts and a generous annual pension of £10,000. He left for England in 1869, living in Maidenhead, and remained there until his return to India in 1881, though not before abdicating in favour of his eldest son in 1880. He died of cholera at Murshidabad in 1884. (For extended biographical details see http://www.royalark.net/India4/murshid13.htm).

A richly illuminated Kashmiri Qur'an, dated AH 1275/ AD 1858-59, also from the library of Faridun Jah, was sold in these rooms: Bonhams, Islamic and Indian Art, 2nd October 2012, lot 30. In the same sale were two Qajar Resht standards, made for Faridun Jah (lot 143).

Kashmiri Manuscripts and the Shahnama:
Book illustration was practiced in Kashmir from the mid-15th Century onward, and had developed its own style by the 17th and 18th Centuries which was greatly influenced by Mughal painting. In the 19th Century lavishly illustrated manuscripts remained in demand by both Muslim and Sikh patrons, and as Pratapaditya Pal comments, 'it is clear, by and large, the Kashmiri preferred a more archaic version of the decorative and idealized manner associated with Persian tradition, with perfunctory borrowings from the Mughal style. While the Mughal style might not have captured the Kashmiri imagination, the interest in pictures, especially illustrated books, was rekindled by the Mughal presence'. Pal observes that the Muslim patron had a penchant for illustrated manuscripts of popular Persian literature such as Firdausi's 11th-Century epic Shahnama, pictorial romances such as theKhamsa of Nizami and other poetic and didactic works. 

This manuscript compares closely with a Shahnama, circa 1825, with 66 miniatures which entered the New York Public Library as part of the Lennox Collection, described by Barbara Schmitz as an outstanding example of the Kashmir book. Schmitz adds: "it is one of a group of deluxe Shahnamas, with huge illustration cycles, that includes a copy dated AH 1244/ AD 1828 with 102 miniatures that was sold at a London auction in 1979; one dated AH 1245/ AD 1830 with 95 miniatures in the Staatsbibliothek, Berlin in which the colophon states that the manuscript was copied "in the country of Kashmir [which] resembles paradise"; and another Shahnama of AH 1251/ AD 1830 with 77, sold at the Hotel Drouot in Paris in 1982. Two other Shahnamas from the Spencer Collection show the disintegration of the style by mid-century and the gradual constriction of the miniature cycle'. There is no doubt that this Shahnama of 1828 with 110 miniatures can be added to this select group of deluxe Shahnamas.

Bibliography: Stchoukine et al, Illuminierte Islamische Handschriften, p. 201.
Adamova and Greck, Miniatyuri Kashmirskikh Eutopisey[Miniatures from Kashmir in Manuscripts], Leningrad 1976.
Sotheby's, Oriental Manuscripts and Miniatures, 24 April 1979, lot 293.
Hotel Drouot, Laurin, Guilloux, Buffetard et Tailleur sale, 23 June 1982, lot 79.
J. P. Losty, The Art of the Book in India, London 1982.
B. Schmitz, Islamic Manuscripts in the New York Public Library, Oxford and New York 1992, pp. 158-163, cat. no. III.15.
P. Pal, The Arts of Kashmir, Milan 2007


The subjects of the miniatures are as follows:

1. Sultan Mahmud of Ghazni enthroned.
2. Jamshid brought as prisoner before Zuhhak.
3. The captive Zuhhak brought before Faridun.
4. Faridun mourning Iraj.
5. Minuchihr fighting Salm.
6. Sam finds Zal and the simurgh on Mount Alburz.
7. Rudabeh watches Zal climb up to her balcony.
8. The caesarean birth of Rustam in the presence of the simurgh.
9. Rustam killing the white elephant.
10. The battle between Afrasiyab and Naudar.
11. Afrasiyab killing the captive Naudar.
12. Rustam seizing Afrasiyab by the belt.
13. Afrasiyab watch the dragon as it swallows his chariot.
14. Afrasiyab kills the dragon.
15. Rustam meeting Tahmineh for the first time.
16. Rustam sleeping while his horse Raksh fights the lion (tiger)(first stage)
17. Rustam and Raksh fighting the dragon (third stage).
18. Rustam killing the White Div in a dark pit to obtain blood from its liver to restore the sight of Kai Ka'us, watched by Ulad who is tied to a tree.
19. Rustam in a fight before an enthroned ruler, probably the King of Mazandaran
20. Rustam seizes a foe in battle.
21. Rustam about to lassoo a foe in battle.
22. Battle scene in front of a fort.
23. Suhrab defeating Rustam in their first battle.
24. Rustam killing Suhrab.
25. Rustam pleading for Siyavush before Kai Ka'us.
26. Sudabeh tempting Siyavush.
27. The fire ordeal of Siyavush watched by Kai Ka'us and Sudabeh.
28. Siyavush meeting Afrasiyab.
29. Rustam meeting Kai Ka'us.
30. Afrasiyab playing polo with Siyavush.
31. Farangis, daughter of Afrasiyab and wife of Siyavush, crossing the Jaihun (Oxus) river with Giv and Kai Khusrau.
32. Farangis watches Afrasiyab and Siyavush playing polo.
33. Afrasiyab watching Garvi cutting the throat of Siyavush.
34. Kai Khusrau petitioned by the family of Afrasiyab.
35. Rustam fighting Pilsam in battle.
36. Rustam giving an audience in Turan.
37. Giv crossing the Oxus river with Kai Khursrau and Farangis.
38. Kai Khusrau and Giv at the court of Kai Ka'us.
39. Farud fighting the Iranians.
40. Battle scene between Iranians and Turanians on a hillside.
41. Kamus fighting Tus and Giv.
42. Rustam about to take Kamus prisoner after killing his horse.
43. Rustam unhorsing Shangal in battle.
44. Rustam wrestling with Puladvand.
45. Rustam at the court of Kai Khusrau.
46. Bizhan feasting with Manizheh.
47. Rustam travels to Turan where he is asked by Manizheh to rescue Bizhan.
48. Rustam rescuing Bizhan from the pit watched by Manizheh.
49. Encounter between Rustam and Afrasiyab before battle commences.
50. Meeting between Rustam and Barzu.
51. Rustam fighting Barzu.
52. Barzu saved by his mother from Rustam.
53. Susan, the Turanian woman musician, asleep in a tent.
54. Rustam about to fight Pilsam.
55. Rustam watches Pilsam being beheaded.
56. Afrasiyab fighting Kai Khusrau.
57. Human fighting Bizhan on the ground in revenge for killing Siyavush.
58. Giv hearing Gudarz relating the dream of Kai Khusrau.
59. Giv fighting in battle.
60. Afrasiyab receiving Kai Khusrau.
61. Shida killed by Kai Khusrau.
62. Kai Khusrau receives the son of Afrasiyab.
63. Kai Khusrau receives Rustam.
64. Family of Afrasiyab asking Kai Khusrau for mercy.
65. Kai Khusrau receives the envoy of Faghfur of Chin.
66. Kai Khusrau and Kai Kaus entertained in a garden.
67. Kai Khusrau beheads Afrasiyab.
68. The court of the Kaisar of Rum.
69. Gushtasp killing the dragon.
70. Gushtasp killing the dragon.
71. Gushtasp, son of Lahrasp, sends letter to Arjasp.
72. Battle between Bidarafsh and Zarir, brother of Gushtasp.
73. An elderly ruler killed in battle falls off his horse.
74. Isfandiyar, son of Gushtasp, about to fight Arjasp.
75. Isfandiyar killing lions.
76. Isfandiyar being revived after being overcome by the heat of the dragon's breath. The dragon lies in a pool of blood next to Isfandiyar's chariot (third stage).
77. Isfandiyar recognised by his sisters in the Brazen Fort.
78. Isfandiyar killing Arjasp in the Brazen Fort.
79. Isfandiyar demanding the throne from his father Gushtasp.
80. Rustam meeting Bahman.
81. Rustam meeting Isfandiyar for the first time.
82. Simurgh summoned by Zal to help Rustam and Rakhsh.
83. Isfandiyar shot in the eyes by Rustam.
84. Rustam impaled in the pit of spears on Rakhsh having shot Shaghad through the tree.
85. Bahman watching Faramurz impaled and shot with arrows.
86. Humay having recognised Darab as her son, places him on the throne.
87. Iskandar comforting the dying Dara.
88. Celebrations to mark the accession of Iskandar announced by letter.
89. Battle between Iskandar and Fur(Porus).
90. Iskandar received by Kaidafeh (Nushabeh).
91. Israfil holding his large golden trumpet watched by Iskandar.
92. Ardashir ordering the execution of Ardavan.
93. Ta'ir brought before his daughter and Shapur.
94. Shapur watches the beheading of Ta'ir.
95. Bahram Gur showing off his hunting prowess watched by Azadeh.
96. Bahram Gur hunting waterfowl preceded by two falconers.
97. Bahram Gur hunting lions(tigers).
98. Battle between Khushnavaz and Firuz.
99. The court of Anushirvan.
100. Anushirvan leading a hunting party with falconers and salukis.
101. Anushirvan dispensing justice.
102. Anushirvan watches a chess game sent to him by the King of Hind.
103. Bahram Chubin captures Saveh.
104. An audience scene.
105. Bahram Gur with a princess in a pavilion and hunting wild ass.
106. Bahram Gur entertained.
107. Bahram Gur meeting the old woman.
108. The accession of Khusrau Parviz.
109. An audience scene with Ardashir.
110. The battle between Rustam and Sa'd bin Waqqas.

The second illustrated manuscript, the Book of Akbar, (Books I, II and III) is lavishly illustrated with sixty-five miniatures. It is almost certain that it comes from the collection of Nathaniel Middleton (1750-1807), East India Company Resident at Lucknow, 1776-1782. Created in North India, probably Murshidabad, late 18th Century, the Persian manuscript on cream-coloured paper, features 508 leaves.

Shaykh Abul-Fazl, the book's author, surnamed 'Allami, was the son of Shaykh Mubarak of Nagur. He was born in Agra in 1551 and was introduced to the Emperor Akbar in 1573 by his elder brother the celebrated poet Faizi, and soon became his friend, trusted adviser and chronicler of Akbar's reign.

The Akbarnama, the Book of Akbar, is the official chronicle of the third Mughal Emperor Akbar (reg. 1556–1605). The manuscript was commissioned by Akbar from his court historian Abu'l Fazl and according to Linda Leach, 'includes a vivid and detailed account of his life and times. The author wrote the work between 1590 and 1596 and it is thought to have been illustrated between 1592 and 1594 by at least forty-nine artists from Akbar's atelier'.

Middleton arrived in India shortly before 1769 and, after service at Cossimbazar and Murshidabad, was appointed in 1773 by the Governor-General, Warren Hastings, as his representative at the court of Shuja-ud-Daulah, Nawab of Oudh. Asaf-ud-Daula had succeeded to the throne in 1775: in 1777 Middleton, now Resident, persuaded him to accept Hastings' plan to make over the Nawab's troops to Company service, thus in effect allowing the British occupation of Oudh. His deputy as Resident at Lucknow was Richard Johnson (1753-1807), who formed what became the Johnson Album, later the cornerstone of the India Office Library collection. Middleton himself was an avid collector of Persian manuscripts, Indian paintings and natural history drawings by Indian artists. A portrait by Tilly Kettle of 1773 depicts him seated with an illustrated manuscript.

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The Book of Akbar, (Books I, II and III) is lavishly illustrated with sixty-five miniatures, is estimated at £30,000 - 50,000. Photo: Bonhams.

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A rare copy of Abu'l Fazl bin Mubarak's Akbarnama, the Book of Akbar, Books I, II and III, lavishly illustrated with sixty-five miniatures, and very probably once in the collection of Nathaniel Middleton (1750-1807), East India Company Resident at Lucknow, 1776-1782, North India, probably Murshidabad, late 18th Century.  

Persian manuscript on cream-coloured paper, 508 leaves, complete, remargined, 27-28 lines to the page, each book (kitab) copied by a different scribe, text written in nasta'liq script in black ink, extensive headings describing in detail the subject of the following miniature picked out in red, inner margins ruled in colours and gold, catchwords in wide outer margins, 3 finely illuminated headpieces in colours and gold marking the beginning of each of the three books, 65 miniatures painted by at least 4 artists, 5 blanks with titles in red intended for miniatures on folios 244v, 246v, 249r, 254v and 416r, waterstaining and dampstaining mostly restricted to the outer margins and towards the end of the manuscript otherwise in good condition, later European–style red morocco gilt, slight worming, spine worn, short tear at top of spine; folio 476 x 309 mm 

Provenance: Private US collection since 1929;
With Poohoomull Bros., dealers ('Shippers of Certain Artistic Antiquities'), Bombay: acquired by them at auction in India in October 1920, until October 1929 (according to a typewritten declaration with the manuscript).
Almost certainly Nathaniel Middleton (1750-1807), East India Company, Civil Officer to the Court of Oudh (1773-75), Resident at Lucknow (1776-82); stamp impression on f. 6r (miniature no. 1), an insignia consisting of a monogram including the letters N and M, and the motto in English My Hope is in God

Author: Shaykh Abul-Fazl, surnamed 'Allami, was the son of Shaykh Mubarak of Nagur. He was born in Agra in 1551 and was introduced to the Emperor Akbar in 1573 by his elder brother the celebrated poet Faizi, and soon became his friend, trusted adviser and chronicler of Akbar's reign. According to Charles Rieu, 'He rose by degrees to a command of four thousand men, and was engaged in military operations in the Deccan, when he was recalled to the Court, and murdered on his way thither in AH 1011/ AD 1602 by the Bundela chieftain, Barsing Deo, instigated by Prince Salim, afterwards Jahangir. The author has given a sketch of his own life at the end of Book III'. This episode of the life of Abu'l-Fazl is illustrated in the present manuscript: see miniatures nos. 62 & 63 on folios 485v and 493v respectively.

Text: The Akbarnama, the Book of Akbar, is the official chronicle of the third Mughal Emperor Akbar (reg. 1556–1605). The manuscript was commissioned by Akbar from his court historian Abu'l Fazl and according to Linda Leach, 'includes a vivid and detailed account of his life and times. The author wrote the work between 1590 and 1596 and it is thought to have been illustrated between 1592 and 1594 by at least forty-nine artists from Akbar's atelier'. Leach adds, 'it was probably Abu'l–Fazl who also initiated the idea of the Akbarnama and put himself forward as its author, in the biography he mentions his own distaste for the continual repetition of old literary fantasies over contemporary history'.

According to Rieu, 'The author states in the preface that his material consisted of the private memoirs which numerous persons were ordered to send in, of the official records which had been kept from the 19th year of the reign, the royal proclamations, and the letters and returns of the officers of state. The work was submitted during its progress to Akbar, who corrected and supplemented it from his personal recollections'. The Victoria and Albert Museum and the British Library/Chester Beatty Library manuscript (circa 1603–05) are the only two surviving illustrated copies of the work which are contemporary with Akbar's life. 

Contents: The Akbarnama is divided into three Books (kitab):
Book I: The Birth and horoscope of Akbar (see miniatures nos. 3 & 5 on folios 12v and 16r in this manuscript); The Genealogy of the House of Timur and the history of Babur and Humayun which are intended to emphasize the legitimacy of Akbar's rule; History of Akbar from his accession to the end of the 17th year of his reign.
Book II: Continuation of Akbar's reign to the end of his 46th year. Abu'l Fazl details the gradual independence of Akbar from his general and tutor, Bairam Khan, who had shepherded the young sovereign through the early years of his reign but had become too assertive (see miniatures nos. 10, 12 & 23 on folios 60v, 76v and 166r in this manuscript).
Book III: Entitled A'in Akbari, The Institutes of Akbar, contains a detailed account of the royal establishments, the administration and statistics of the empire, the creeds and institutions of the Hindus. 

Nathaniel Middleton: Middleton arrived in India shortly before 1769 and, after service at Cossimbazar and Murshidabad, was appointed in 1773 by the Governor-General, Warren Hastings, as his representative at the court of Shuja-ud-Daulah, Nawab of Oudh. Asaf-ud-Daula had succeeded to the throne in 1775: in 1777 Middleton, now Resident, persuaded him to accept Hastings' plan to make over the Nawab's troops to Company service, thus in effect allowing the British occupation of Oudh. His deputy as Resident at Lucknow was Richard Johnson (1753-1807), who formed what became the Johnson Album, later the cornerstone of the India Office Library collection. Middleton himself was an avid collector of Persian manuscripts, Indian paintings and natural history drawings by Indian artists. A portrait by Tilly Kettle of 1773 depicts him seated with an illustrated manuscript (see M. Archer, India and British Portraiture 1770-1825, London 1979, p. 87, pl. 41). He returned to England in 1784 and was a key witness in the impeachment trial of Warren Hastings, where he became known as 'Memory Middleton' due to his deliberate inability to recall anything to Hastings' disadvantage. On Middleton, see Archer, op. cit., p. 87, pp. 94-95, and pl. 52; and T. Falk & M. Archer,Indian Miniatures in the India Office Library, London 1981, pp. 17 and 135.

Bibliography: C. Rieu, Catalogue of the Persian Manuscripts in the British Museum, London, repr. 1966, part I, pp. 247–249; 
N. M. Titley, Miniatures from Persian Manuscripts: Catalogue and Subject Index of Paintings from Persia, India and Turkey in the British Library and British Museum, London 1977, pp. 2 -5;
L. Y. Leach, Mughal and Other Indian Paintings from the Chester Beatty Library, London 1995, vol. I, pp. 232–294;
S. Stronge, Made for Mughal Emperors: Royal Treasures from Hindustan, London & New York 2010.

The subjects of the miniatures are as follows (all the miniatures and headpieces are illustrated online):

1. f. 6r: Humayun receiving a deputation, a prince asleep in the background.
2. f. 10v: Humayun giving an audience on a terrace
3. f. 12r: Humayun consulting astrologers on a terrace
4. f. 15r: Humayun dictating a letter on a terrace
5. f. 16r: The birth of Akbar.
6. f. 31r: Battle between with armies of Kandahar and Samarqand.
7. f. 37v: A battle scene near Agra.
8. f. 46r: Humayun's army besieging Champaner Fort.
9. f. 55v: Battle scene.
10. f. 60v: Bairam Khan bringing Tardi Beg Khan treacherously to his tent in order to have him murdered.
11. f. 70r: Humayun entertained by Muhammad Khan in Herat.
12. f. 76v: Bairam Khan's wife asking the Emperor to pardon her husband.
13. f. 77r: The Emperor receiving an embassy.
14. f. 85r: Mirza Kamran aided by Abdul-Rahman Qassab captures the fortress of Kabul.
15. f. 93r: Akbar arriving at the gates of Kabul.
16. f. 100r: Mirza Kamran in battle in Afghanistan.
17. f. 109r: The Afghans fighting at the fortress of Kabul.
18. f. 126r: The captive Abu al-Ma'ali bought into the presence of Akbar.
19. f. 134v: Akbar watches a firework display.
20. f. 140v: Iskandar Abdul-Rahman presents Akbar with the elephant's chain.
21. f. 152v: The procession of Akbar from Akbarabad to Shahjahanabad.
22. f. 160v: A battle scene near Lahore.
23. f. 166r: Mubarak Khan Lohani and other Afghans killing Biaram Khan in Pattan (1560).
24. f. 171r: Akbar slaying a tiger near Malwa.
25. f. 179r: Akbar on his elephant surveys the burning of the city of Indore and the massacre of its inhabitants.
26. f. 190v: Akbar meets Khawaja Mu'in al-Din at Agra.
27. f. 193v: Akbar injured in a battle near Delhi.
28. f. 202v: An elderly mother hands a petition to Akbar complaining that Muhammad Husain Qurabighi Abdullah Khan has abducted her daughter.
29. f. 210r: Akbar hunting elephants.
30. f. 222r: The return of Akbar to Lahore from his campaigns.
31. f. 259v: Akbar and his army attacking a fort during his battle with Ibrahim Husain Mirza.
32. f. 268r: The battle between the armies of Akbar and Muhammad Husain Mirza and the fate of Qutb-ad-Din Khan, Sayyid Chand Bukhari and Naurang Khan.
33. f. 275r: Akbar receiving Raja Tudah Mal and appointing the governors of Gujarat.
34. f. 283v. Akbar and his commanders on elephants crossing a river, preceded by two boats on his way to Gujarat.
35. f. 292r: Battle between Raja Tudah Mal and the Vizier Khan.
36. f. 299r: Battle between Muzzafar Khan and Taj-i Khan
37. f. 307r: The return of the army led by Shahbaz Khan after capturing the fort of Savanah near Ajmer, and subsequently being received in audience by the Emperor.
38. f. 313r: Prince Daniyal giving an audience.
39. f. 314v: Battle between Muzzafar Khan and Raja Tudah Mal.
40. f. 319v: A fierce battle raging near the castle of Karhara.
41. f. 327v: An enthroned Akbar giving an audience to the learned men of the realm.
42. f. 336r: Nizam ad-Din Sardari Qutb-ad-Din Khan leaving Gujarat for Hijaz by a European (Farang) ship to perform the Hajj.
43. f. 344v: Akbar receiving Muhib 'Ali Khan, Shahim Khan and Samanji Khan in Bihar.
44. f. 351v: Battle scene with Mohan Das and Sur Das.
45. f. 359r: Akbar enthroned on a terrace surrounded by courtiers.
46. f. 368v: Akbar enthroned.
47. f. 375v: Battle between Ma'sum Khan Farankhudi and Firuz Khan in Bihar
48. f. 382r: The Emperor riding on a white elephant leads his troops into battle at Fatehpur Sikri near Agra.
49. f. 390r: Prince Salim receiving Shah Rukh Mirza.
50. f. 400v: Yusuf Khan and his army march towards Kashmir
51. f. 406r: Akbar giving an audience on his way to Kashmir.
52. f. 414r: Akbar being weighed in gold in a public ceremony.
53. f. 418r: Akbar celebrating at court.
54. f. 425r: Akbar inspecting the building of a city from a barge on the Chenab.
55. f. 430v: Khawaja Hasan, Sanjar Mirza and other nobles visit a walled garden.
56. f. 437r: Jamal-ad-Din Khan leading his army into battle at Ahmadnagar.
57. f. 445v: A murder scene at a fort.
58. f. 455r: Accession of Sultan Muhammad to the throne of Rum (Greece)
59. f. 462v: Prince Murad prepares to leave for the Deccan to meet Raja 'Ali Khan Marziban
60. f. 469v: Sultan Murad being weighed in gold in a public ceremony.
61. f. 478v: Mirza 'Ali Akbar Shahi besieged at the fort of Daulatabad in the Deccan.
62. f. 485v: The author Abul-Fazl visiting the Deccan.
63. f. 493v: A skirmish between the soldiers of Abu'l Fazl and the Raja's army in Daulatabad.
64. f. 503r: Prince Daniyal leading the wedding procession of his son from Burhanpur to Bijapur.
65. f. 508r: The funeral of Akbar.

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