Maqamat_al-Hariri

<i>Maqamat al-Hariri</i>

Maqamat al-Hariri

Collection of tales from the Middle East

The Maqāmāt al-Ḥarīrī (Arabic: مقامات الحريري) is a collection of fifty tales or maqāmāt written at the end of the 11th or the beginning of the 12th century by al-Ḥarīrī of Basra (1054–1122), a poet and government official of the Seljuk Empire.[3] The text presents a series of tales regarding the adventures of the fictional character Abū Zayd of Saruj who travels and deceives those around him with his skill in the Arabic language to earn rewards.[4] Although probably less creative than the work of its precursor, Maqāmāt al-Hamadhānī (whose author lived 968–1008 CE), the Maqāmāt al-Ḥarīrī became extremely popular, with reports of seven hundred copies authorized by al-Ḥarīrī during his lifetime.[5]

For the general presentation of the Maqama literary genre, see Maqama.
Title "Al-maqāmāt al-Harīriyya", Bibliothèque Nationale de France (Arabe 5847).[1]
The main character Abu Zayd travelling on horse, on his way to Diyar Bakr (Maqama 43, BNF Arabe 3929, 1200-1210).[2]

The first known manuscripts date from the 13th century, with eight illustrated manuscripts known from this period. The most famous manuscripts include one from 1237 in Baghdad (now in the Bibliothèque Nationale de France) and one from 1334 in Egypt or Syria (now in the National Library of Austria).[6]

Altogether, more than a hundred manuscripts of the work are known, but only thirteen are illustrated. They were mainly produced over a period of about 150 years.[7] A first phase consists in manuscripts created between 1200 and 1256 in areas between Syria and Iraq. This phase is followed by a 50-year gap, corresponding to the Mongol invasions (invasion of Persia and Mesopotamia, with the Siege of Baghdad in 1258, and the invasion of the Levant). A second phase runs from around 1300 to 1337, during the Egyptian Mamluk period, with production probably centered around Cairo.[8]

Manuscripts of the Maqāmāt al-Ḥarīrī belong to the category of "secular Arabic manuscripts", as opposed to religious works such as illustrated Qur'ans.[9]

List of stories

After a preface by al-Hariri himself, there are 50 stories altogether, generally entitled on the format "Encounter at....", with the name of a different city for each story. The chapters are in order:[10]
1-10 "Encounter at San'a", Holwan, Kayla, Damietta, Kufa, Maraghah (or "The Diversified"), Barkaid,[11] Ma'arrah, Alexandria, Al-Rahba
11-20 "Encounter at Saweh", Damascus, Baghdad, Mecca, "Encounter called "The Legal"", "Encounter of the West", "Encounter called "The Reversed"", Sinjar, Nasibin, Mayyafariqin
21-30 "Encounter at Rayy al-Mahdiyeh", Euphrates, "Encounter of the Precinct", "Encounter called "Of the Portion"", Kerej, "The Encounter of the address", "The Encounter of the Tent-dwellers", Samarkand, Wasit, Sur
31-40 "Encounter at Ramlah", Tayleh, Tiflis, Zabid, Shiraz, Maltiyah, Sa'dah, Merv, Oman, Tabriz
41-50 "Encounter at Tanis", Najran, Al-Bakriya,[12] "The Encounter called "The Wintry"", Ramlah, Aleppo, Hajr, Harmamiyeh, Sasan, Basra.[10]

Manuscripts

Early, non-illustrated copies

Ms Cairo Adab 105, folio 5a. Title and autograph ijaza written by al-Hariri himself, for the copyist in 1111 CE.[13][14]
First page of 1188 CE edition (not illustrated). BNF Arabe 3924

Several early non-illustrated editions of the Maqāmāt al-Ḥarīrī are known, starting from the lifetime of al-Ḥarīrī himself (1054–1122), when he was about 56 years old. The earliest known manuscript is Cairo, National Library of Egypt, MS Adab 105, dated 504/1110–11 through an ijaza certificate of authenticity by al-Ḥarīrī himself. It is by far the earliest the earliest known manuscript, and it was copied the same year al-Ḥarīrī completed his work.[15]

Other early manuscripts are known, such as London, British Library, Or. 2790 (557 AH/1161–62 CE); Vatican City, Biblioteca Apostolica Vaticana, Sbath 265 (583 AH/1187 CE); Paris, Bibliothèque Nationale de France, Arabe 3924 (584 AH/1188 CE); Paris, Bibliothèque Nationale de France, Arabe 3926 (611 AH/1214 CE); and Paris, Bibliothèque Nationale de France, Arabe 3927 (611 AH/1214 CE).

After this initial non-illustrative phase, illustrated Maqamat manuscripts started to appear, corresponding to a broader "explosion of figural art" in the Islamic world, from the 12th to 13th centuries, despite religious condemnations against the depiction of living creatures "because it implies a likeness to the creative activity of God".[16]

Pictorial tradition

See also: Illuminated manuscript and Arabic miniature

The origins of the pictorial tradition of Arabic illustrated manuscripts are uncertain. The first known decorated manuscripts are some Qur'ans from the 9th century CE.[17] They were not illustrated, but were "illuminated" with decorations of the frontispieces or headings.[17] The tradition of illustrated manuscripts started with the Graeco-Arabic translation movement and the creation of scientific and technical treatises often based on Greek scientific knowledge, such as the Arabic versions of The Book of Fixed Stars (965 CE), De materia medica or Book of the Ten Treatises of the Eye.[18] The translators were most often Arab Syriac Christians, such as Hunayn ibn Ishaq or Yahya ibn Adi, and their work is known to have been sponsored by local rulers, such as the Artuqids.[19]

An exposition of artistic artistry towards the illustration of manuscripts occurred in the 12th and 13th century.[18] Throughout the 13th century in the area of Syria and Iraq, there is a lot in common stylistically between the Christian Syriac illustrated manuscripts, such as Syriac Gospels (British Library, Add. 7170), and Arab illustrated manuscripts such as the Maqamat al-Hariri.[20] This synthesis seems to point to a common pictorial tradition that existed since circa 1180 CE in the region, which was highly influenced by Byzantine art.[20][21]

Paris, Bibliothèque Nationale de France, Arabe 3929 (1200×1210)

Arabe 3929[22] was probably produced in Amid, modern-day Diyarbakır, Turkey, ca. 1200×1210.[23][24] This manuscript probably belongs to the "Artuqid school" of painting,[25] together with an early 1206 edition of the Automata of Ibn al-Razzaz al-Jazari, devoted to the depiction of mechanical devices (Ahmet III 3472, Topkapı Sarayı Library, securely dated to 1206 and displaying many design similarities).[26][27]

This illustrated manuscript is considered the most ancient illustrated Maqāmāt known. The illustrations are rather simple and literal, which leads most specialists to attribute it to the early 13th or even late 12th century.[28]

The first pages are lost: the manuscript starts from the second story (second Maqamah).[29]

Paris, Bibliothèque Nationale de France, Arabe 6094 (1222)

Arabe 6094[33] was made in the Jazira region, and is the earliest securely dated illustrated Maqāmāt by al-Hariri.[34] The style and numerous Byzantine inspirations in the illustrations[35] suggest it might have been drawn in the area of Damascus in Syria, under the rule of the Ayyubids.[36] The date appears in several places (on the hull of the boat in folio 68, or a plate held by a schoolboy in folio 167, in the format "made in the year 619" (i.e. 1222 CE).[36]

  • Mqama 01: Abu Zayd and listeners in San'a. Folio 6r
  • Maqama 10: Abu Zayd and his son before the governor of Rabba. 1222, folio 31r
  • Maqama 38: the Governor of Merv, wearing the Turkic sharbūsh.[37][35]
  • Maqama 46: Abu Zayd teacher in Aleppo. Students, some wearing the Arab turban, others Turkic caps.[38] Folio 167r

Paris, Bibliothèque Nationale de France, Arabe 5847 (1237)

Arabe 5847,[39] also known as the Schefer Ḥarīrī,[40] is a copy created by Yahya ibn Mahmūd al-Wāsitī and is probably the most applauded copy of the Maqāmāt.[41] According to its colophon, the manuscript was copied in the year 634 AH (1237 CE).[42][43] It may have been created in Baghdad, based on some stylistic parallels with the Kitab al-baytarah, which securely emanated from this city,[44] and the fact that the name of the Abbasid Caliph al-Mustansir appears in one of the paintings (15th maqama, fol. 164v);[45] but this attribution remains quite conjectural. The Bibliothèque Nationale de France, holder of the manuscript, simply presents it as "Mesopotamian".[46]

The twin frontispieces show one individual in Arab dress, who may be the author himself, and a majestic ruler in Seljuk-type Turkic military dress (long braids, fur hat, boots, fitting coat), who may be the potentate the manuscript was dedicated to.[3][47][48] This potentate seems like a Turkic emir, and may be one of the Atabegs who ruled in the region, particularly Badr al-Din Lu'lu', who ruled in the Mosul region and Upper Mesopotamia with the approval of the Abbasid caliph at the time.[49]

The book is written in red and black ink, and supplemented by 99 miniatures.[42] These miniatures depict a wide variety of scenes from the Maqāmāt and from everyday life. Most are decorated with gold.[44]

  • Left frontispiece (1v): ruler in Turkic dress (long braids, Sharbush fur hat, boots, fitting coat), in the Maqamat of al-Hariri, 1237 CE, possibly Baghdad.[3][47][48]
  • Right frontispiece (2r): possible depiction of the author al-Hariri himself, in the Maqamat of al-Hariri, 1237 CE, possibly Baghdad.[3][40]
  • Turkic soldiers wearing the aqbiya turkiyya coat, tiraz armbands, boots and sharbush hat. (Second frontispiece detail)
  • Maqama 34: Slave-market in the town of Zabid in Yemen
  • Maqama 39: A ship bound for Oman.[50]
  • Maqama 39: the Queen of Oman giving birth.[51]
  • Maqama 10: Ayyubid Governor of Rahba, with Abū Zayd and his son.[52]
  • Maqama 21: Amir ("the Prince of that region")[53] with guards, wearing the Turkic headgear Sharbush, in the preaching scene at Rayy, Iran,[54][48][55]

Istanbul, Suleymaniye Library, Esad Efendi 2961 (1242×1258)

This manuscript is badly damaged and all the faces were erased.[56] Its colophon bears a dedication to Abbasid Caliph Al-Musta'sim (1243–1258), but the location of its production is unknown.[56][45]

  • Suleymaniye Library, Esad Efendi 2916
  • Suleymaniye Library, Esad Efendi 2916
  • Suleymaniye Library, Esad Efendi 2916
  • Suleymaniye Library, Esad Efendi 2916

London, British Library, Ms. Or. 1200 (1256)

This manuscript has a colophon describing the date of its manufacture as 1256.[56] It was made by an artist named Umar ibn Ali ibn al-Mubarak al-Mawsili ("from Mosul").[56] The manuscript is quite damaged, and miniatures often have been clumsily repainted.[56]

  • British Library, Ms. Or. 1200
  • British Library, Ms. Or. 1200
  • British Library, Ms. Or. 1200
  • Abū Zayd in the children's school. British Library, Ms. Or. 1200

London, British Library, Ms. Or. 9718 (late 13th century)

The manuscript is quite damaged, and many of the miniatures were repainted in rather recent times.[57] The original artist was from Damascus (folio 53r mentions "Work of Ghazi ibn 'Abd al-Rahman al-Dimashqi", who is known to have been born in 1232–3 and died in 1310 at the age of 80, and apparently lived in Damascus all his life).[57][58]

  • Two camel riders in Arab bedouin costumes. Maqamat, Syria, late 13th-century, British Library, Ms. Or. 9718.
  • Abū Zayd in the children's school. British Library, Ms. Or. 9718.

Saint Petersburg, Russian Academy of Sciences, Ms. S.23 (13th century)

This manuscript (also sometimes labelled Ms. C-23), although in rather poor condition, has many elaborate illustrations.[59] It is undated, and the place of origin is unknown.[44]

  • Abu Zayd before the governor of Merv (Maqāma 28). Saint Petersburg Ms. S.23.
  • A ship bound for Oman (Maqāma 39). Saint Petersburg, Russian Academy of Sciences, Ms. S.23.
  • Assembly
  • Travelers

London, British Library, Ms. Or. Add. 22114 (early 14th century)

This manuscript may have been made in Syria, in the early 14th century.[60][57] The first and last pages are lost.[57] Many miniatures are well preserved, but they are dull and repetitive, suggesting a copy without much invention.[57] A governorial figure wearing typically Seljuq or Turkic costume, particularly the sharbush headgear, and quite similar to the figure of Badr ad-Din Lu'lu' in other manuscripts, appears on several of the folios (such as maqama 21).[61]

  • MS Or. Add. 22114, folio 96r
  • MS Or. Add. 22114, folio 94
  • British Library, Ms. Or. Add. 22114
  • Maqama 21: Turkic governor at Rayy, with sharbush. British Library, Ms. Or. Add. 22114.[61]

London, British Library, Ms. Or. 7293 (1323)

This manuscript has a colophon describing the date of its manufacture as 1323.[62] It is beautifully made, and suggests a luxury copy.[62] Still, many of the miniatures are left blank and were never completed.[62] It may have been copied from Paris, Bibliothèque Nationale de France, Arabe 5847.[62] The manuscript was acquired by a tax collector in Damascus in 1375–1376, according to an inscription on the first page.[62]

  • Maqāmāt, British Library, Ms. Or. Add. 7293
  • Maqamat, British Library, Ms. Or. Add. 7293 (detail). Abū Zayd and his audience (maqāma 3)

Vienna, National Library of Austria, AF9 (1334)

This copy is dated to the Egyptian Mamluk era, and was produced in Egypt or Syria, most probably in Cairo.[63] The fronstispiece shows an enthroned Prince at his court. The style is Turkic: "In the paintings the facial cast of these [ruling] Turks is obviously reflected, and so are the special fashions and accoutrements they favored".[64] The ruler may be the Mamluk Sultan An-Nasir Muhammad.[65][66]

  • Frontispiece with Mamluk court scene. Probably Egypt, dated 1334. Maqamat of Al-Hariri.[67]
  • Maqamat of al-Hariri, Vienna manuscript AF 9, 1334 CE Folio 42v
  • Maqamat of Al-Hariri, 1334
  • Abū Zayd pleads before the qāḍī of Ma'arra, Maqamat al-Hariri, (1334), Austrian National Library

Oxford, Bodleian Library, MS Marsh 458 (1337)

Only a few pages of this manuscript remain.[63] The colophon indicates that it was manufactured in 1337 for an official at the Mamluk court, the Mamluk amir Nasir al-Din Muhammad, son of Husam al-Din Tarantay Silahdar, in Cairo, Egypt.[63][68]

  • Ms. Marsh 458, Frontispiece
  • Ms. Marsh 458, Folio 7b
  • Ms. Marsh 458, Folio 29b
  • Ms. Marsh 458, Folio 77b

Figures of local potentates

Dignitary in Turkic military dress: long braids, sharbush fur hat, boots, close-fitting coat. He may be an amir. From Maqamat, 1237 CE edition (BNF Arabe 5847).[3]

Figures of Qadis, Sheikhs, Princes or Governors appear recurrently in the various manuscripts of Maqamat al-Hariri, from the 13th century miniatures of North Jazira down to those of the Mamluk period.[61] These are characteristic of the figures of princely cycle and courtly life in early Islamic art. These figures are generally similar to Seljuq depictions of authority, wearing typically Seljuq or Turkic costumes, particularly the sharbush headgear, with distinctive facial features, and sitting cross-legged on a throne with one hand on the knee and one arm raised.[61] These figures are also similar to those in the frontispieces of the Kitab al-Aghani and Kitab al-Diryaq of the mid-13th century. In all manuscripts, these figures of power and authority in Seljuk style are very different from the otherwise omnipresent figures in Arabic style with their long robes and turbans.[61][3] Snelders summarizes the situation in socio-political terms:

...thirteenth-century manuscripts of the Maqamat of al-Hariri, in which a similar iconographic differentiation can be found. In a number of these manuscripts a careful distinction is made between royal and non-royal figures, both in terms of physical appearance and dress. Whereas princes and governors are commonly represented with the same ‘Asiatic’ or ‘Oriental’ facial features, and dressed in Turkish military garments like fur-trimmed caps (sharbush) and short close-fitting tunics, most other figures are depicted with ‘Arab’ or ‘Semitic’ facial features, and dressed in long robes and turbans. Apparently in keeping with the contemporary political and social makeup of the region in which these manuscripts were produced, a visual distinction was made along ethnic and social lines, between the non-Arab Turkish ruling elite and the indigenous Arab bourgeoisie.

— Snelders Identity and Christian-Muslim interaction : medieval art of the Syrian Orthodox from the Mosul area.[69]

See also

Notes

  1. [1]
    Hillenbrand 2010, p. 118.
  2. [2]
    Ḥarīrī al-Baṣrī, Muḥammad al-Qāsim ibn ʿAlī al- (1054-1122); texte, Al-QĀSIM ibn ʿAlī al-Ḥarīrī (Abū Muḥammad) Auteur du (1201–1300). "Les Maqâmât d'Aboû Moḥammad al-Qâsim ibn ʿAlî al-Ḥarîrî".{{cite web}}: CS1 maint: numeric names: authors list (link)
  3. [3]
    Flood, Finbarr Barry (2017). "A Turk in the Dukhang? Comparative Perspectives on Elite Dress in Medieval Ladakh and the Caucasus". Interaction in the Himalayas and Central Asia. Austrian Academy of Science Press: 232.
  4. [4]
    "Al Maqamat: Beautifully Illustrated Arabic Literary Tradition – 1001 Inventions". Retrieved 2023-07-28.
  5. [5]
    George, Alain (February 2012). "Orality, Writing and the Image in the Maqamat : Arabic Illustrated Books in Context". Art History. 35 (1): 10–37. doi:10.1111/j.1467-8365.2011.00881.x. Originality and realism were clearly not among the aims of their author, which has led some modern scholars to rate his work as inferior to that of the founder of the genre, al-Hamadhani (968–1008 CE). Yet this perception was not shared by Arabic-speaking audiences of the twelfth century onwards, amongst whom al-Hariri's Maqamat almost immediately became a classic, soon eclipsing earlier writings of the same genre and spawning emulations in Hebrew, Syriac and Persian. So considerable was their popularity that, according to an anecdote cited by Yaqut al-Rumi (c. 1179–1229), al-Hariri had authorized seven hundred copies of the text in his lifetime.
  6. [6]
    Hillenbrand 2010, p. 119.
  7. [7]
    Grabar 1984, p. 7.
  8. [8]
    Grabar 1984, p. 17.
  9. [9]
    Snelders 2010, p. 2, ..."contemporary illustrated Islamic manuscripts, which are often also referred to as ‘secular Arabic manuscripts’ when religious works such as illuminated Qur’ans are excluded from the equation".
  10. [10]
    Shah 1980.
  11. [11]
    Streck, M. (24 April 2012). "Barḳaʿīd". Encyclopaedia of Islam, First Edition (1913-1936). Brill.
  12. [12]
    Picture from Maqamat 43 "Encounter at Al-Bakriya" . "Al-Bakriya" = Diyar Bakr according to Eger, A. Asa (18 November 2014). The Islamic-Byzantine Frontier: Interaction and Exchange Among Muslim and Christian Communities. Bloomsbury Publishing. ISBN 978-0-85772-685-8.
  13. [13]
    George, Alain (February 2012). "Orality, Writing and the Image in the Maqamat : Arabic Illustrated Books in Context". Art History. 35 (1): 10–37. doi:10.1111/j.1467-8365.2011.00881.x.
  14. [14]
    MacKay, Pierre A. (1971). "Certificates of Transmission on a Manuscript of the Maqāmāt of Ḥarīrī (MS. Cairo, Adab 105)". Transactions of the American Philosophical Society. 61 (4): 1–81. doi:10.2307/1006055. ISSN 0065-9746. JSTOR 1006055.
  15. [15]
    MacKay, Pierre A. (1971). "Certificates of Transmission on a Manuscript of the Maqāmāt of Ḥarīrī (MS. Cairo, Adab 105)". Transactions of the American Philosophical Society. 61 (4): 6. doi:10.2307/1006055. ISSN 0065-9746. JSTOR 1006055.
  16. [16]
    George, Alain (February 2012). "Orality, Writing and the Image in the Maqamat : Arabic Illustrated Books in Context". Art History. 35 (1): 10–37. doi:10.1111/j.1467-8365.2011.00881.x. The Islamic world witnessed, in the twelfth to thirteenth centuries, an explosion of figural art. (...) The making of it is forbidden under every circumstance, because it implies a likeness to the creative activity of God
  17. [17]
    Snelders 2010, p. 3, note 14.
  18. [18]
    Snelders 2010, p. 3.
  19. [19]
    Snelders 2010, p. Chapter4, 4th page.
  20. [20]
    The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261. Metropolitan Museum of Art. 1997. pp. 384–385. ISBN 978-0-87099-777-8.
  21. [21]
    Snelders 2010, pp. 1–2.
  22. [22]
    "Consultation". archivesetmanuscrits.bnf.fr.
  23. [23]
    Balafrej, Lamia (19 December 2022). "Automated Slaves, Ambivalent Images, and Noneffective Machines in al-Jazari's Compendium of the Mechanical Arts, 1206". Inquiries into Art. History: 766, Fig.11. doi:10.11588/xxi.2022.4.91685.
  24. [24]
    "Consultation Arabe 3929". archivesetmanuscrits.bnf.fr.
  25. [25]
    Contadini 2012, p. 120, fig. 45.
  26. [26]
    Balafrej, Lamia (19 December 2022). "Automated Slaves, Ambivalent Images, and Noneffective Machines in al-Jazari's Compendium of the Mechanical Arts, 1206". Inquiries into Art. History: 739–741. doi:10.11588/xxi.2022.4.91685.
  27. [27]
    Ward, Rachel (1 January 1985). "Evidence for a School of Painting at the Artuqid Court". Oxfod Studies in Islamic Art, Vol. 1, Pp. 69-83: 76–77.
  28. [28]
    Sakkal, Aya (25 August 2014). "La représentation du héros des Maqāmāt d'al-Ḥarīrī dans les trois premiers manuscrits illustrés". Annales islamologiques (in French). 48 (1): 79–102. doi:10.4000/anisl.3080. ISSN 0570-1716. Most of the illustrations are simple and at first glance quite literal, and for this reason most scholars have assigned the manuscript to the early thirteenth century, or even to the late twelfth. A more sophisticated discussion by Rice of one group of illustrations led him to a date sometime in the 1240. (Grabar, The Illustrations of the Maqamat, p. 8.)
  29. [29]
    Grabar 1984, p. 8.
  30. [30]
    Shah 1980, pp. 212–220.
  31. [31]
    Shah 1980, pp. 74–77.
  32. [32]
    Balafrej, Lamia (19 December 2022). "Automated Slaves, Ambivalent Images, and Noneffective Machines in al-Jazari's Compendium of the Mechanical Arts, 1206". Inquiries into Art. History: 767–768. doi:10.11588/xxi.2022.4.91685. While at a wedding in Sinjar (Iraq), Abu Zayd tells the story of how he lost his enslaved concubine (jāriya). The plan had been to keep her in strict seclusion, but one day, under the influence of alcohol, he made the mistake of revealing her existence to a neighbor. Word got around; eventually, Abu Zayd was forced to sell the concubine to the governor.
  33. [33]
    "Makamat de Hariri 6094". 1222.
  34. [34]
    Sakkal, Aya (25 August 2014). "La représentation du héros des Maqāmāt d'al-Ḥarīrī dans les trois premiers manuscrits illustrés". Annales islamologiques (in French). 48 (1): 79–102. doi:10.4000/anisl.3080. ISSN 0570-1716.
  35. [35]
    The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261. Metropolitan Museum of Art. 1997. pp. 428–429. ISBN 978-0-87099-777-8.
  36. [36]
    Grabar 1984, p. 9.
  37. [37]
    Keresztély, Kata (14 December 2018). Fiction Painting : a Medieval Arabic Tradition. p. 351.
  38. [38]
    Stillman, Norman (8 June 2022). Arab Dress, A Short History: From the Dawn of Islam to Modern Times. BRILL. p. 68, note 12. ISBN 978-90-04-49162-5.
  39. [39]
    "BNF Arabe 5847". archivesetmanuscrits.bnf.fr. Bibliothèque Nationale de France.
  40. [40]
    Hillenbrand 2010.
  41. [41]
    Hillenbrand 2010, p. 117.
  42. [42]
    Ettinghausen 1977, p. 104.
  43. [43]
    Grabar.
  44. [44]
    Grabar 1984, p. 10.
  45. [45]
    Contadini 2012, p. 155.
  46. [46]
    "Consultation". archivesetmanuscrits.bnf.fr.
  47. [47]
    Hillenbrand 2010, p. 126 and note 40.
  48. [48]
    Contadini 2012, p. 126–127: "Official" Turkish figures wear a standard combination of a sharbūsh, a three-quarters length robe, and boots. Arab figures, in contrast, have different headgear (usually a turban), a robe that is either full-length or, if three-quarters length, has baggy trousers below, and they usually wear flat shoes or (...) go barefoot (...) P.127: Reference has already been made to the combination of boots and sharbūsh as markers of official status (...) the combination is standard, even being reflected in thirteenth-century Coptic paintings, and serves to distinguish, in Grabar's formulation, the world of the Turkish ruler and that of the Arab. (...) The type worn by the official figures in the 1237 Maqāmāt, depicted, for example, on fol. 59r,67 consists of a gold cap surmounted by a little round top and with fur trimming creating a triangular area at the front which either shows the gold cap or is a separate plaque. A particular imposing example in this manuscript is the massive sharbūsh with much more fur than usual that is worn by the princely official on the right frontispiece on fol. 1v."
  49. [49]
    O'Kane, Bernard (2012). "Text and Paintings in the Al-Wāsiṭī "Maqāmāt"". Ars Orientalis. 42: 43. ISSN 0571-1371.
  50. [50]
    Shah 1980, pp. 193–198, Maqāma 39, "The encounter at Oman".
  51. [51]
    Shah 1980, p. 193.
  52. [52]
    Contadini 2012, p. 143.
  53. [53]
    Shah 1980, p. 86.
  54. [54]
    Hillenbrand 2010, p. 118, note 10.
  55. [55]
    Shah 1980, pp. 84–88, Maqāma 21, "The encounter at Rayy al-Mahdiyeh".
  56. [56]
    Grabar 1984, p. 12.
  57. [57]
    Grabar 1984, p. 13.
  58. [58]
    McSweeney, Anna. "The Maqamat of al-Hariri. Two Illustrated Mamluk Manuscripts at the British Library MS Or.9718 and Ms.Add.22114.pdf (MA Thesis, SOAS)". SOAS Dept. Art and Archaeology: 4.
  59. [59]
    Grabar 1984, p. 11.
  60. [60]
    Fontana, M.V. (1 January 2020). Islam and the West. Arabic inscriptions and pseudo inscriptions. Mantova: Universitas Studiorum. ISBN 9788833690735. Universitas Studiorum Publishing. p. 126, note 34.
  61. [61]
    McSweeney, Anna. "The Maqamat of al-Hariri. Two Illustrated Mamluk Manuscripts at the British Library MS Or.9718 and Ms.Add.22114.pdf (MA Thesis, SOAS)". SOAS Dept. Art and Archaeology: 29–30.
  62. [62]
    Grabar 1984, p. 14.
  63. [63]
    Grabar 1984, p. 15.
  64. [64]
    Ettinghausen 1977b, p. 162.
  65. [65]
    "Al-Hariri, Maqamat ('Assemblies') - Discover Islamic Art - Virtual Museum". islamicart.museumwnf.org. The sultan who possibly commissioned the manuscript and who may be the one depicted on the dedicatory title page is An-Nasir Muhammad b. Qala'un, who was in power for the third time from 709 AH / 1309-10 AD to 741 AH / 1340-41 AD.
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    Yedida Kalfon Stillman, Norman A. Stillman (2003). Arab Dress: A Short History : from the Dawn of Islam to Modern Times. Leiden, Netherlands: Brill. pp. Fig.22. ISBN 9789004113732. Fig. 22. Frontispiece of a court scene from a Maqamat manuscript, probably from Egypt, dated 1334. The enthroned prince wears a brocaded qabli' maftulJ with inscribed Tiraz armbands over a qabli' turki which is clinched at the waist with a hiyasa of gold roundels (bawlikir). The two musicians at the lower right both wear turkic coats and plumed caps, one of which has an upwardly turned brim. The plumes are set in a front metal plaque ('amud) (Nationalbibliothek, Vienna, ms A. F. 9, fol. 1).
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    Ettinghausen 1977b, p. 148.
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    George, Alain (February 2012). "Orality, Writing and the Image in the Maqamat : Arabic Illustrated Books in Context". Art History. 35 (1): 10–37. doi:10.1111/j.1467-8365.2011.00881.x. Only one illustrated copy of the Maqamat (Oxford Marsh 458) was dedicated to a named individual, the Mamluk amir Nasir al-Din Muhammad, son of Husam al-Din Tarantay Silahdar, for whom it was completed in 1337.
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    Snelders 2010, Paragraph 4.7.

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