From the Unveiling of ‘Nathr al-La’ali’ to ‘Amalejat-e Tarab-e Khasse’

According to the Iran Book News Agency (IBNA), the exquisite manuscript of ‘Nathr al-La’ali,’ a selection of aphorisms from Commander of the Faithful Imam Ali (PBUH) penned by the great commentator Fadl ibn Hasan Tabarsi and calligraphed by Master Ahmad Nayrizi, was unveiled in a formal ceremony at the Abiad Palace, Golestan Global Heritage Complex, in cooperation with Noor Hedayat Publications and the Golestan Global Heritage Complex.

This valuable work is a collection of sayings and wisdoms of Imam Ali (PBUH), compiled by the esteemed commentator Fadl ibn Hasan Tabarsi and inscribed in the excellent script of Master Ahmad Nayrizi. Its original version is considered among the treasures of the Golestan Palace manuscript collection.

According to the organizers, a new edition of this work, produced through the efforts of Noor Hedayat Publications in a luxurious facsimile format (an identical reproduction of the manuscript), has been published for the first time.

This ceremony was attended by a group of researchers, calligraphers, cultural managers, and enthusiasts of Iran’s written heritage, providing an opportunity to honor the art of Persian-Islamic book ornamentation and calligraphy.

Display of Mawlana’s Exquisite Masnavi Manuscript and the ‘Treasures of Storytellers’ Exhibition

The exquisite manuscript of Mawlana Jalal al-Din Rumi’s Masnavi Manavi was displayed for the first time, and concurrently, the first exhibition of artistic jewelry titled ‘Treasures of Storytellers’ was inaugurated at the Abiad Palace, Golestan Palace. These two events showcase the connection between ancient manuscript art and contemporary art.

The exquisite Masnavi manuscript was calligraphed by Master Seyyed Mohammad Hossein Katib-al-Sultani Shirazi and ornamented in 1279 AH. This valuable work was compiled through the efforts of Seyyed Esmaeil Ghaeni’s three artistic children and includes six complete books of the Masnavi Manavi, considered a prominent example of calligraphy and illumination in the Qajar (Naseri) era.

Concurrently with this ceremony, the ‘Treasures of Storytellers’ exhibition also opened; a collection of artistic jewelry in which 10 contemporary artists, inspired by Masnavi stories, have established a connection between ancient literature and today’s jewelry art.

In this regard, Afarin Emami, director of the Golestan Global Heritage Complex, emphasized the importance of holding these two cultural events, stating: ‘The display of the exquisite Masnavi manuscript and the establishment of the ‘Treasures of Storytellers’ exhibition offer a valuable opportunity to revisit Iran’s literary and artistic heritage. The connection between calligraphy and contemporary arts demonstrates a continuity of Iranian culture over time, and Golestan Palace, as in the past, will host this link between authenticity and creativity.’

Unveiling of the Book ‘Amalejat-e Tarab-e Khasse’ and Kamal al-Molk’s Painting ‘Amale-ye Tarab’

The unveiling ceremony for the valuable painting ‘Amale-ye Tarab’ by Master Kamal al-Molk was held at the gallery of the Golestan Global Heritage Complex, attended by Ilnaz Rahbar, a group of masters, artists, and researchers.

This ceremony aimed to introduce and re-present one of the most prominent Qajar-era Iranian paintings; a work that, due to its artistic value, intricate details, and special place in Kamal al-Molk’s portfolio, has always been of interest to researchers and lovers of Iranian art. Historical and art experts provided explanations about the painting’s creation history, the master’s technique, and the thematic importance of the work.

Additionally, on the sidelines of this event, the book ‘Amalejat-e Tarab-e Khasse’ was unveiled and introduced in collaboration with Part Publications; a research work that delves into the artistic, historical, and cultural aspects of musical groups in the Qajar court and has a direct connection to the content of Kamal al-Molk’s painting.

This event was attended by prominent artistic, cultural, and academic figures of the country, providing an opportunity for enthusiasts of history and visual arts to closely observe this exquisite work and become acquainted with its lesser-seen dimensions and its place in Iranian art history.