Artwork
Zulaykha in her palace and as an elderly woman with Joseph (recto), from a Panj Ganj (Five Treasures) of Abd al- Rahman Jami (Persian, 1414–1492)
Zulaykha in her palace and as an elderly woman with Joseph (recto), from a Panj Ganj (Five Treasures) of Abd al- Rahman Jami (Persian, 1414–1492) is an unspecified painting by the Persian Miniature artist Mushfiq. It dates from 1605 and is held in the collection of the Cleveland Museum of Art.
About this work
Overview
Created in 1605 by the Mughal court painter Mushfiq, this Persian miniature forms part of a illuminated manuscript of the *Panj Ganj* by the 15th‑century poet Abd al‑Rahman Jami. Executed while Mushfiq worked in the workshop of the Mughal commander‑in‑chief Abd‑ur‑Rahim Khan‑i‑Khanan, the painting illustrates a scene from the biblical tale of Joseph and Zulaykha.
Subject & Meaning
The image presents two moments from the story of Zulaykha’s persistent advances toward Joseph. In the upper register, a palace interior is shown through two small windows, while the lower register depicts Zulaykha as an elderly woman, still confronting Joseph, emphasizing the theme of unrequited desire and moral steadfastness.
Technique & Style
Rendered in the miniature tradition, the work employs vivid pigments—deep reds, ultramarine blues, and gilt accents—applied with fine brushwork to delineate intricate architectural details and sumptuous textiles. Gold leaf outlines the composition’s borders, and the figures are arranged in a crowded yet balanced spatial scheme typical of early‑17th‑century Mughal painting.
History & Provenance
Mushfiq, an Indian artist active in the early Mughal period, produced the miniature for a deluxe copy of Jami’s *Panj Ganj* that was likely commissioned by a high‑ranking patron. The manuscript remained in private collections before entering a public institution, where it is now preserved as a representative example of Mughal book illustration.
Context
The *Panj Ganj* compiled five of Jami’s poetic works, and its illustrated copies served both devotional and aesthetic purposes in the Mughal court. The inclusion of a biblical narrative reflects the syncretic literary interests of the era, while the lavish visual treatment aligns with the empire’s patronage of Persian artistic conventions.
Artist & collection
Artist
Mushfiq was a sub-imperial Mughal painter who worked in the atelier of Abd-ur-Rahim Khan-i-Khanan (also called Abdul Rahim Khan-I-Khana), commander-in-chief of the Mughal army in the late 16th/early 17th century.
The old procuress conveys the young man’s message of love to Mansur’s wife, from a Tuti-nama (Tales of a Parrot: Seventeenth Night
Page from Tales of a Parrot (Tuti-nama): text page
The son of the king of Babylon sees the Brahman transformed into a woman bathing and falls in love with her, from a Tuti-nama (Tales of a Parrot): Thirty-fifth Night
Illuminated page (verso), from a Panj Ganj (Five Treasures) of Abd al- Rahman Jami (Persian, 1414–1492) with two Persian masnavis: Yusuf va Zulaykha (Joseph and Zulaykha) and Khirad-nama-i Iskandari (Alexander’s Book of Wisdom)