نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و پنجم شماره 3 (پیاپی 83، پاییز 1399)

Since 1960s, with the incremental growth of images which were penetrating in daily life of human being, the concept of “simulation” gradually entered the artistic critique topics. In Baudrillard’s idea, simulations in postmodern culture have dominated on every aspects of human life and cannot be recognized from the real thing in any way. In addition, the role of photography in postmodern era is under the influence of Baudrillard’s thoughts. The postmodern photographers insist on the completion of imaging world and believe that the only truth under our authority is the photographed world. Postmodern philosophers including Baudrillard have this idea that “representation” is the entire thing that exists and can exist. Richard Prince is among those postmodern artists who, with seizing the images of other artists, distorts the distinction between the original and the copy. In the postmodern culture, the image of the focal member is considered to be an ontological priority to the real. In addition, art always has an invariable relationship with the paradigms of its age; if imitation is rooted in the traditional world, the origin of the imagination should be in the current world. According to Baudrillard, when the simulations dominates in a society, the virtual world resulting from it gives its audience nothing but absurdity. In addition, postmodern photographers were impressed by Baudrillard's thoughts of saturation of contemporary societies. They emphasize the reproducible nature of the photographic image, all of which has already been seen, and there is nothing more than a representation. If the postmodern world is known by signs that are more than representative, how can an artist transfer this situation through his work? Is it possible that he would represent a simulation?Jean Baudrillard believes that postmodern culture is the only domination of simulacra and hyperreal field creation. In Baudrillard’s interpretation, images do not represent reality anymore, but also, they themselves become reality and create the simulated reality. Today, images appear more real than real. He is one of the thinkers who questions this dual status between reality and simulation in his ideas and tries to explain a new status: a status in which two components- image and signs’ play- control the social life of human being. Postmodern photographers were affected by Baudrillard’s ideas about saturation of today’s societies by images. Richard Prince is one of them who emphasizes the reproducible nature of photography and believes that everything has been already seen. Today, the concepts of simulation and acute reality have become to the foundation of most researches about Baudrillard and the visual thing, especially in cultural production and artistic critique. This research is trying to analyze the causes of Baudrillard’s ideas about discredit of contemporary art and its adjustment with postmodern photography. As well, it is trying to answer this question in a descriptive and analytical method that how these artists utilize the nature of image as simulacrum. The achievements of adjustment of the present example and Baudrillard’s ideas show that Prince wanted to reproduce the simulacra in a sarcastic manner by presenting the hyperreal images

When we are talking about artwork, what are we talking about? Is the meaning of art as a kind of accurate representation of the world as realists may believe it, or are we talking about extrapolation to human psychological states that, as an artist, evaporates from its psychological state? Each of these questions will inevitably lead us to believe in a form of representation of something original and pre-existing. Whether the world, whether nature and society, or the psychological state of the artist - fears, frustrations, love, hatred, and other psychological situations. In this paper, we have tried to illustrate how some of the phenomenological concepts of Edmund Husserl's literature show how the artwork is a form of representing the meaning of the world, as it has been given in the artist's intentional and none-reflective experience. To do this we have tried to provide a proper definition of the concepts we have in Husserl. meanwhile, we tried to establish the proportions that are necessary to achieve the goal of our research. Our basic questions are about the work of art, body and its relationship with the work of art and its perception, as well as the fundamental relationship between the artist and the work of art. We devoted ourselves to trying to demonstrate the artistic nature of art in general and artwork in particular. We tried to enlighten the relationship between the artwork as an object and the objectivity of art-between what the objectivity of art is, and what, as it may be, in the realist approach of art, the artwork as an object is. We also examined the importance of the artist's intentional experiences during the creation of artwork. We also tried to illustrate the importance of the artist's relation to the world around him in virtue of his living-body, both in the production of artwork and in understanding it. Our attempt to demonstrate the attachment of artwork to a natural approach has also examined the relationship between truth claims and art in a phenomenological reading. This, of course, is only a preliminary attempt to move towards a formulation by which we might be able to find new possible truth foundations in art and artworks. We are totally writing against representationalism in an understanding of art, be it a positive approach to representation or a negative one. We proceed toward our research by some prepositions; such as Art is something autonomous which is not bound to any scientific approaches; Arti is not A representation of something it creates the world; by such a creation art provides a non-scientific foundation for human conversation as a tool for improving the world as an inter-subjective world shared in our inter-bodily existence. We also decided to apply Husserlian Conceptions in regard to prepare an answer for anti-foundationalist accounts of art which totally deform what we know as Art and reduce Art to a kind of self-expression of a soloistic Subject which they call an artist. It is of course just an introductory essay.

During the archaeological studies in the east of Ray plain (Varamin plain) about 126 ancient sites from upper Paleolithic period up to Islamic period were found. One of these sites which is unique in the region is Tappeh Moeinabad, Moeinabad data showed that this settlement from Late Neolithic was residential and from Trans Chalcholitic period the residents abandoned this site. Again in Sasanian period it flourished. Among the finding of this site, there is a painted potsherd, which is completely unique up to now, was found which belongs to the end of Neolithic period. On this potsherd a human figure has drawn. Such an image at other contemporary sites has not reported up to now. In this research the essential point is concentrated on this potsherd.The consideredsherd belong to concave base of a vessel the condition of its wall is not obvious. The paste of this vessel is in light yellowish brown color   2.5Y6/3 and consists of chaff temper about half centimeter length. Although mineral infusions have seen among the paste but it is added intentionally. The interior side of this vessel has been smoothed when it was wet. The thick sleep coated of the pottery is in 2.5Y7/3 Pale Yellow color. The thickness of wall is about nine millimeter. The pottery clay is loose and has not processed well. We can see holes and cracks simply. The wall of the pottery is vacuous, light, brittle and simply broken. Although this condition maybe because of defective backing, for the core of the pottery has not baked well and it is unoxidized.this unique potsherds is handmade and traces of pottery wheel has not been seen. The designs are in GLEY1 3/ Very Dark Gray color and by washing them they disappear completely (fugitive).The length of design is nine centimeter and the bottom diameter is ten centimeter. It seems that this design belongs to a corpulent man with perfectly elongated feet, which the plantarextended to the right hand side. This design has drawn in the form of trifaces.the way of man’s standing conveys uneven and sloping feature. As well it seems that the design is stable and fixed as. It seems that the plantar has drawn in real size but from the knee up to ankle is smaller than the real size and the feet themselves have drawn thickness. The largeness of the thigh resembles woman statues, because this part of body (thigh) has made exaggeratedly. From the waist suddenly the design narrowed and it becomes in the form of cylindrical shape.Untill to the underarms it does not change any size the upper part of the body has drawn full faced. The size of hands seemsreally, but because of exaggeration of the thighs, hands seem too small. Only two fingers from right hand are observable, thumb has shown very big, but the left hand does not show any finger. Underarm of right hand like the overhang is a large muscle and left elbow too large to be drawn.

The Bronze Age was the most important age in the past history this age had main and important position in the ancient Iran. This age was coincided with the Elamite civilization in which had placed from the beginning of the Elamite’s age to amidst of the middle Elamite’s age three thousand and one hundred to one thousand and two hundred and fifty before Crist. In this age, Susa was the governmental capital of Elamite. This city had main evolution and development in Bronze Age. The Sculpture method had begun in second half of third before Crist in the Susa. Graving sculpture includes animal and human statues and the human statues has been discussed in this research. in the series of human statues, the number of female statues are more than male statues. At the beginning of Bronze Age, The female statues had affected by recent age (Chalcolithic) and had developed from abstract condition to realism. These statues had been built by using mud in the abstraction and metaphorical method. These statues had no head but the status’s hands and feet had been referred. Also some nodes had been added to these statues and maliebrity lines had been graved. These female statues as symbol of breeding, motherly, religion and ritual ceremony and token for god has had more usage than male statues. How was the development process of female statues in Susa from the view point of morphology? Because of existence of beliefs and credence, there were ostensive exaggeration in the accentuating female’s symbols and signs in the naked statues. The naked statues have been built in two forms of abstract- elementary and the realism. The building process of statues were elementary and formic to humanist statues, had been done very fast. In a collection of the naked statues in which they had exiguity secrecy, the emphases had been done on the nodes, had been displayed with more exaggeration. The form of status’s hands to their breast has been referred to the fertility god. In the next step, the naked statues had changed to the direction of the covert statues which has been built and designed with delicacy and subtlety and has been produced carefully to show the detail of the component of the body, the face, the hair dressing, the jewelry and the graved dress with doctrine and recognition of the human anatomy. Also in collection of covert statues, there are the statues which had been molded and shaped of kings and queens. In these realism statues the propriety of the human anatomy has been regarded the details of the textile of dresses, the types of arrangement of face, the hair dressing has also been built with delicacy and carefully. In all of these statues the way of the respect and the worship and the adoration has been displayed. All statements has been referred to importance of the position, the role of the women in the Bronze Age at the Susa society. This research done in descriptive-analytic method, the library data resources has been used.

The safavid Era is one of the most important Islamic dynasties in Iran and Islamic Worlds. The historic houses of this period, along with their magnificent decorations, are one of the House of Mirmiran is located in the town of Varzaneh in Isfahan province. The house is 3610 square meters and determined as a national heritage in 2008. Architecture of the house is comparable with the typical architecture of the center of Iran with central yard, in two floors and some decorations including wall painting and stucco decorations. The decorations are more rich in a single room at the north of the house; this room is called shah neshin means place of the king or royal place which is a name usually given to the most glamorous part of any house or room. Walls of the namely room are fully covered with wall painting. Illustrations are inspired by Persian literature and Iranian legends including tales of Shahnameh, fairy tales and in one case, authors believe a war scene is illustrated. Furthermore, a hemistich of an Iranian well-known poet, Hafez of Shiraz, can be recognized in Nastealigh calligraphy. Technic of the paintings is something between wall painting and stucco decoration, which is known as Koshte- bori. The calligraphy is carved with the same technic as the illustrations. The decoration of the House of Mirmiran`s shah neshin is similar, both conceptually and technically, to the interior decoration of the house of Pirnia located in Naein, also in southeast of Isfahan. Illustrations of the House of Pirnia are also, related to the Iranian fairy tales, Shahnameh and Panj Ganj of Nezami of Ganje who is another well-known poet of Iran. Moreover, some poems belonging to the other Iranian famous poets can be, seen all over the rooms in nastealigh calligraphy. As mentioned before, same calligraphy is used in the house of Mirmiran. The only technical difference, in Mirmiran motifs are all illustrated negative while in Pirnia motifs are both negative and positive.Current article aims to at first, interpret the illustrated scenes. Then, technic of the wall paintings will be discussed and subsequently, according to the interpretations of the illustrated scenes and school of the paintings, a relative dating will be presented; it is noteworthy that Mirmiran house is believed to be dated back to early Safavid dynasty (15th century AD) but according to the elements mentioned above, authors believe wall paintings are more recent. Finally, as pointed out above, interior decorations of the house of Pirnia is comparable with those of shah neshin room of the house of Mirmiran; the relation to the house of Pirnia in Naein will be discussed.The most important results are the effect of the paintings of the Mirmiran's house on the Isfahan paintings style and Reza Abbasi and his students, and its undeniable role in comparison with the House of Pirnia in Nayin. The study carried out in this article gives the relative history of these decorations to the second half of the 11th century A.H.

Some of the objects of the Islamic era of Iran are described simply by the appearance, so that many of the unique features of these objects are ignored without their background, name and application. One of the most important resources that can help us better introduce the Iran’s Islamic era objects, especially their name, application, background, and even aesthetic status, is the treasure of Persian literature. Because the Persian literary texts mirrored the lives of the people of their time; hence based on literary texts, we can elicit plenty of information about a large number of everyday objects of every age. One of the many obscure things about it is the Qajar Steel Fruits, six of which are in the National Museum of Iran, which have not been introduced yet, and even a few other examples in other museums have only been introduced to their appearance. It is based on the fact that many treasures were made in ancient Iran in the form of fruit or many kings and pilgrims in the texts of Persian literature with metal fruits such as "quince" and "bergamot" are described in hands. Therefore, in this research, the Persian literary treasure was used to identify the Qajar steel fruits. In order to achieve this, firstly, the introduction of steel fruits in samples of museums, especially the samples in the National Museum of Iran, and then the history of metal fruits were introduced on the basis of Persian literature. Since the remaining Qajar fruits are "quince" and "bergamot", in the next section, more attention was paid to these two fruits. Finally, the reasons for making steel fruits in the Qajar era were studied. Regarding the results of this identification, the production of metal fruits, especially "quince" and "bergamot" in ancient Iran, has a long history, so that many ancient kings and elders with quince or bergamot (fragrant and Or non- fragrant) are described in their hand. Of course, since the inscriptions of two examples of Qajar steel fruits in the National Museum of Iran indicate their belonging to Nasiral-Din Shah; it can be deduced that, given the Archaism of the Qajar kings, these fruits were probably used in the Qajar kings court. However, many obscure points remain in the study of these fruits, such as non- fragrant and fragrant (in this case, were covered with flavor material like amber). But since a number of these fruits are simple plain, the likelihood of these fruits covering with the amber is used to freshen up the court's environment; and the existence of such ambiguities in this article can be the basis for future research. Finally, it should be noted that the results of this research, in addition to identifying the Qajar steel fruits, It even provides for the completion of literary and historical documents from an ancient Persian tradition (making metal fruits); Because despite the many references to metal fruits in the texts, the Qajar steel quinces and bergamots are the only available examples of an ancient tradition.

There is no doubt that technology plays a key part of almost every improvement in different sciences nowadays. As a case in point, digital typography is considered as one of this advancement achieved constantly through solving the technology limits, reinforcing its possibilities, and sometime innovating in it. However, there was less concern for these opportunities and challenges, and Very few researches have been done in digital typography chronology, documentation and even in translated Persian resources. Considering all of above-mentioned aspects, the author aimed to understand and access to the opportunities and challenges of the late 20th digital typography in its early appearance. To this end, this paper gathered data from library sources in order to employ descriptive-analytical method for scrutinizing the history of type design in that period. Thus, it addressed two following questions: first, what opportunities and challenges did early digital devices present to digital typography? The second is what potentials and limitations diverse digital formats have for type design? Regarding to the publication and display of digital typography in monitors and printers, the first hypothesis is that the impact of early display devices and printers' developments–processing due to the improvement of some pivotal limitations and sometimes as a result of reinforcing potentials and innovating in these devices–put forward some pivotal opportunities and challenges to digital typography. Furthermore, digital formats–nearly ten of which are divided into two groups named raster and vector–varied to make digital devices appropriate for utilizing type design potentials, and sometimes mitigate inferiorities of devices. Consequently, the second hypothesis is that the variety of raster and vector formats formed to adapt type design potentials with digital device inferiorities–resulted in bringing constantly some substantial opportunities and limitations to digital typography. In order to realize these hypotheses, this paper started with the statement of the problem, and then in the second part, it opened the discussion on research literature by reference to four main available sources. In the third part titled “opportunities and challenges of digital technology in the 20th type design” it attempted to answer to the paper's two research questions in two separate subtitles named “possibilities and limitations of type design in digital devices” and “possibilities and limitations of type design in digital formats”. Moreover, based on the hypotheses, each subtitle was organized into two specific parts so as to analyze the role of digital devices and digital formats in type design. Ultimately, in the part titled “Results and suggestions”, presenting two lists of challenges and opportunities (one for digital devices and another for digital formats), it reached a conclusion that digital devices have always had some significant possibilities and limitations for type design containing compatibility with display and printing features, scalability to small and large sizes, the quality of representation and image resolution. In addition, the use of the 20th digital formats have continuously generated fundamental possibilities and limitations for type design consisting of putting letters into geometric precise grids, economizing storage space, and inspiring from calligraphy traditions.

Abū Zayd ibn Muhammad ibn Abū Zayd is among the tile makers and potters of Kashan, that more than anyone else his signature is visible in remnants of the middle ages between the years 582 to 616 AH. Despite the domination and extensiveness of artwork in some of the artistic and artisan families of Kashan in the medieval period, such as the family of Abū Ṭaher who have been known for generations, no detailed information has yet been obtained from another artist of Abū Zayd's descent. The major review of the people introduced by Arthur Upham Pope and the few others is not correct and is in some way inappropriate. Therefore, the question arises whether a person or other people of the Abū Zayd descent who have been employed in artistic work or is Abū Zayd the only artist of the family? This article seeks to identify and introduce another artist from the mentioned family by studying the remaining woodworks of the Jami mosque of Barzok. Although the mosque has been demolished and renovated several decades ago, some works including 150 wooden boards or blocks have been preserved, which is now being kept at the museum of anthropology in Barzok. In this article, 23 pieces of the woodworks that include the inscription are at the center of attention and their texts will be read and studied. In addition, the inscriptions will be classified according to the shape and the script and their historical period. This article benefits a descriptive and analytical research method with historical approach and the data collection is mainly based on field studies, observation, analysis and comparison of works. In the following, the data obtained from field studies have been analyzed and compared with historical documentary research. Checking of the studied woodworks shows that the mosque, which was built at the beginning of the 8th century AH, was one of two mosques formed at that time in both upper and lower parts of Barzok. Moreover, according to the inscriptions of the later period, the remaining mosque that is famous as Jami Mosque, should have been repaired or expanded at the end of the 12th century, while older inscriptions indicate its construction in the year 705 AH. The result of the studies shows that in 705 AH, an artist who participated in the construction of the Jami mosque of Barzok, and at least he was a master in calligraphy and engraving on the wood, introduced himself as Mohammad ibn Abū Zayd. In another inscription, he named his ancestry from his father to grandfather of his grandfather, which is not so common, mentioning his relation to his famous ancestor, Abu Zayd ibn Muhammad. This suggests that, apart from Abū Zayd ibn Muhammad, at least another artist from the Abū Zayd dynasty, known as Mohammad ibn Abū Zayd, can be identified. Therefore, we should try to do more studies about him and his artistic work in the late seventh and early eighth centuries, and also we hope to be able to identify other artists from the Abū Zayd descent.

Due to the long history of applied ceramics, especially in Iran, and its importance in human survival and evolution mentally and physically, it consistently is one of the most applied arts. Today, because of vast changes that occurs in people lifestyles, we consider a lot of alternation in their aesthetic understanding and even function which needs an innovative method in designing and making applied objects, especially in the applied ceramics that has a strong presence at homes and kitchens of people. Therefore, the design process, as we have seen in the recent period, is not due to precise and reliable planning, but rather as a response to the changes that have been made in the broader social and cultural context in which the design is carried out. In several studies, researchers have sought to examine various aspects of pottery and ceramics during different periods of Iranian civilization, but considering the few studies that have taken place in the field of innovative design in contemporary Iranian ceramics, the necessity of doing such research is doubled. In this paper, using the TRIZ method, the characteristics of the design and its functions in contemporary Iranian ceramics are explained. TRIZ The aim of this study is to recognize the status of innovative design in contemporary applied ceramics of Iran, achieving to the innovative designs features and its function in the evolution of contemporary Iran applied ceramics production. From the aim point of view, this research is subset of functional studies and from the aspect of matter, it is an analytical description research. Information was collected through library and field study methods (questionnaire, interview and direct observation) and In order to analyze the data, the theory of inventive problem solving has been used quantitatively and qualitatively. The results show the existence of 4 main attributes and 7 sub-attributes that contribute to the improvement of the 14 features. The naming of these features is based on the Altshuller 39 parameters. The tables for solving sample contradictions, determining the levels of creativity and the dispersion chart of innovative solutions in each field brighten the design of creative design and finally, based on the above findings, the pristine spaces of innovative design have been identified in Iran's contemporary applied ceramics. In this regard, after recognizing the creative problems from four bases: technical features, material, visual elements and qualities and functional goals in successful examples, it becomes clear that the features such as change physical and chemical status, combination, phase shift and local quality are the main properties of innovative design in contemporary applied ceramics of Iran. Undoubtedly, collecting and compiling the information for the correct analysis of the samples was encountered with many difficulties. In this regard, the help and support of Mahfouz, Ninot Ceramic, Verris Art, Jeiran Gallery and Holbar Ceramic in the knowledge of the information that is considered confidential by producers and interviewing with the professors of Iran's contemporary pottery and ceramics, has been fruitful.

Iran is home to various tribes and clans, each of which has a rich heritage and a mysterious background. One of these tribes is the Kormanj people who migrated to Khorasan from the west of the country during the Safavid era and today, with the passage of time and a result of their relations with other ethnicities in the region, many changes have taken place in their culture and art. Handwoven products made by the Kormanj people of North Khorasan are among the indigenous arts of this region. For the Kormanj, bread has always been especially important as they believe that bread is blessed food and the main source of sustenance. So, women of the Kormanj nomads made special cloths to keep bread in them. Those cloths are now known as Kurdish tablecloth kilim. Originally used to store bread, today they are often used as rugs or decorative works of art. Kurdish tablecloth kilims have a variety of designs and motifs. Patterns are often formed in the minds of their creators rather than being pre-designed. The main creators of Kurdish tablecloths are women and girls who are inspired by the natural world. Although today some weavers do not adhere to old patterns and weave newer ones due to changes in lifestyle, in most cases, the patterns are still reminiscent of the early nomadic lifestyle in this region. Once nomadic, they designed these motifs based on the nature and what they saw around them. Now that they have settled in one place, they have moved further away from the original designs, but some of those designs are still visible. Semantically, the motifs of Kurdish tablecloths are derived from the beliefs of the previous generations and express the cultural concepts of a nomadic society with a visually coherent structure. There are four groups of geometric, plant, animal and human designs. Animal motifs are more frequent than the others, due to the nature of the nomadic lifestyle. Nomadic dependence on animals is a necessity of their lifestyle and this is reflected in Kurdish tablecloth motifs. Animal motifs can take abstract forms like butterflies, symbolic forms like a ram’s horn and naturalistic forms that depict different domestic and wild animals. Among the human motifs, pictures of girls appear more often, mainly because women and girls have often been the weavers of these tablecloth kilims. In terms of style, the patterns can be divided in two categories of abstract and naturalistic styles. Although old designs and motifs are changing due to the change in the people’s lifestyle in North Khorasan, most of the motifs and designs are still the same as the old ones. The purpose of this article is to introduce the patterns of Kurdish tablecloth kilim and explain how they came into being. The data was collected through field method by conducting interviews and observation. Adopting a descriptive-analytical approach, different types of designs were studied and classified.

The bibliophile character of the Timurid ruler Shahrukh (r. 1405–1447) and his patronage of historical, religious, poetical and scientific books in Herat are well known. He commissioned his court historiographer, Hafiz-i Abru (d. 1430) to compose a series of historical and geographical works. Hafiz-i Abru was also commanded to complete several fragmentary copies of the Jamiʿ al-Tawarikh, which had been transcribed for Rashid al-Din (d. 1318) in the early fourteenth century. One of these Jamiʿ al-Tawarikh manuscripts is preserved in the Topkapi Palace Library with the inventory number of “Hazine 1653” and is in part an autograph of Hafiz-i Abru. Since the pre-Islamic part of Hazine 1653 was missing, Hafiz-i Abru replaced the missing part with the first volume of his own Majmaʿ al-Tawarikh. Some years later, a further manuscript was copied from Hazine 1653 and nowadays is known as the “dispersed manuscript.” The contents of these two manuscripts are almost identical and thus their pre-Islamic sections comprise the first volume of Hafiz-i Abru’s Majmaʿ al-tawarikh and their other sections consist of Rashid al-Din’s Jamiʿ al-tawarikh. These two manuscripts are the only surviving illustrated copies of the Majmaʿ al-tawarikh. The Dispersed Manuscript is one of the eight surviving illustrated books produced for Shahrukh. In the beginning of the twentieth century, the manuscript was transferred to the West, and for the first time, as a whole was included in the International Exhibition of Persian Art in the Pennsylvania Museum in 1926. Evidence shows that immediately after the exhibition of 1926, the manuscript was divided into two fragments and found its way into collections of Emile Tabbagh in Paris and Parish Watson in New York. These two dealers of oriental art dismounted the manuscript and started to sell the illustrated leaves before 1928. The dispersal of the codex in more than fifty public and private collections around the world restricted the opportunity for its careful examination by scholars. The book once had 407 folios, of which one hundred fifty are illustrated. Presently, 238 unillustrated folios of this manuscript belong to the Art and History Trust Collection, and the illustrated leaves are widely dispersed. After seven years of research, 146 illustrated folios have been identified. By means of comparison of the text and images of this codex with Hazine 1653, which was copied by Hafiz-i Abru, three distinct groups of painting can be discerned. The first is the established “historical style of Shahrukh,” but the second and the third styles posses several problems. Careful examination of the text and image shows that these paintings have been executed over the text, and as a result, at the location of these miniatures a considerable amount of the text is missing. Moreover, in most of the cases, these repetitious or stereotyped compositions bear no relation to the text. This paper, which surveys the history of the manuscript, shows that approximately half of the illustrated leaves of the dispersed manuscript are manipulations done by the greedy European dealers of oriental art in the early twentieth century.