- Identification and Creation
- Object Number
Attributed to Sultan Muhammad, Persian (16th century)
- Lovers' Picnic, painting (recto), text (verso), illustrated folio from a manuscript of the Divan (Collected Works) of Hafiz
- Work Type
- manuscript folio
- c. 1530
- Creation Place: Middle East, Iran, Tabriz
- Safavid period
- Physical Descriptions
- Ink, opaque watercolor, and gold on paper
- 19 x 12.4 cm (7 1/2 x 4 7/8 in.)
- Inscriptions and Marks
- Signed: A couplet by Hafiz is written in the text blocks at the upper edge of the painting. It has been translated by Martin B. Dickson to read: "A rose without the glow of a lover bears no joy; Without wine to drink, the spring brings no joy."
- inscription: In the text blocks at the upper edge of the painting (translated by Martin B. Dickson): "A rose without the glow of a lover bears no joy; / Without wine to drink, the spring brings no joy."
- Stuart Cary Welch, Jr., Contootook, NH, (by 2007), gift; to Harvard University Art Museums, 2007.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Gift of Stuart Cary Welch in honor of Edith Iselin Gilbert Welch
- Accession Year
- Object Number
- Asian and Mediterranean Art
- This well-known painting features a pair of courtly lovers in a spring garden. Holding hands, they are seated on a carpet, shaded by a canopy bearing an exuberant arabesque. A wine bearer offers the young man a golden bowl; musicians and dancers perform in the foreground on the banks of a stream bordered by flowers. The painting appears on what was once folio 66 recto of a famous manuscript of the Divan of Hafiz and illustrates the 229th ghazal of Hafiz (P. Loloi, Hafiz Master of Persian Poetry, A critical Poetry, New York, 2004, p.149). Only the first line of the poem is shown on the illustrated page and the rest of the poem can be found on the verso side. Because the name of Sam Mirza (b. 1517), brother to the Safavid ruler Shah Tahmasp, appears on one of the now dispersed paintings, it is posited that the prince was the patron of the manuscript.
- Publication History
Armenag Sakisian, La Miniature Persane du XIIe au XVIIe Siecle, Les Editions G. van Oest (Paris, France, 1929), pp. 113, pl. LXXXI, fig. 146
Laurence Binyon and J. V. S. Wilkinson, Persian Miniature Painting: Including a Critical and Descriptive Catalogue of the Miniatures Exhibited at Burlington House, January-March, 1931, exh. cat., Oxford University Press (NY) and Oxford University Press (UK) (London, England, 1933), pp. 112, 115, 116, 128-9:illus. Pl. LXXXIII A, no. 127
Ivan Stchoukine, Les peintures des manuscrits safavis 1502-1587, P. Guenther (Paris, 1959), pp. 60-61
Basil Gray, La Peinture Persane, Skira (Geneve, 1961), pp. 130, 136, 137
Stuart Cary Welch, Persian Painting: Five Royal Safavid Manuscripts of the Sixteenth Century, George Braziller (New York, 1976), p. 117
Stuart Cary Welch, Wonders of the Age: Masterpieces of Early Safavid Painting, 1501-1576, exh. cat., Fogg Art Museum (Cambridge, MA, 1979), pp. 122-23
Martin Bernard Dickson and Stuart Cary Welch, The Houghton Shahnameh, Harvard University Press (Cambridge, MA, 1981), pp.37-39, 58
Elizabeth Murray, Cultivating Sacred Space: Gardening for the Soul, Pomegranate (San Francisco, 1997), page 22
Harvard Art Museum, Harvard Art Museum Annual Report 2007-2008 (Cambridge, 2009), p. 34
Farid al-Din Attar, Layli Anvar, and Michael Barry, Le Cantique des Oiseaux: illustré par la peinture en Islam d’orient, Diane de Selliers (Paris, 2012), p. 278, ill. p. 279.
Tina Marie Theresa D'Alessandro Powell, Picnic in Pisticci, Big Fat Pen Publishing, Inc. (Canada, 2012), p. 39, ill.; p. 98
Priscilla Soucek, Interpreting the Ghazals of Hafiz, RES: Anthropology and Aesthetics, Peabody Museum of Archaeology and Ethnology (Cambridge, MA, Spring, 2003), No. 43, Islamic Arts, p. 159, fig. 6
- Subjects and Contexts
Google Art Project
- Related Works
- Verification Level
3 - Good. Object is well described and information is vetted