ideals of leadership - aga khan development network

Ideals of LeadershipMasterpieces from the Aga Khan Museum Collections

The Court of King Solomon

Folio from an unidentified manuscriptPainting attributed to Madhu Khanazad

India, ca. 1600Opaque watercolour, ink, and gold on paper

The Aga Khan Museum, AKM128

Ideal Governance ‘In sympathy he was like Jacob, in comeliness like Joseph, in fortitude like John, in sovereignty like Solomon’ states the poem above the seated figure in this miniature. The use of Old and New Testament figures as examples of virtue is common in Islamic literature due to the high respect and status they enjoyed in Islamic culture at large. To Muslims, as indeed to Jews and Christians, Solomon signifies the perfect image of the ideal king, invested with divine support and - according to some unorthodox, popular traditions - endowed with supernatural gifts and authority over living beings and natural forces.

A Prince Visits a Hermit

Folio from an albumPainting attributed to ‘Abd al-Samad Shirin Qalam

India, ca. 1585-90Opaque watercolour, ink, gold, and silver on paper The Aga Khan Museum, AKM122

Humility In this scene, a prince – possibly the Mughal emperor Akbar himself – is seated submissively before a solitary recluse, who lives withdrawn in a cave for a life of religious seclusion and contemplation. According to the emperor’s historian Abu’l-Fazl, it was rumoured in court circles that just sucha visit had inspired Akbar to adopt a more ascetic lifestyle, recognizing that earthly greatness is little compared to the spiritual rewards of existence.

Akbar and a Dervish

Folio from an albumPainted by ‘Abd al-Samad Shirin Qalam

India, ca. 1586 Opaque watercolour, ink, gold, and silver on paper


During a hunt, the Mughal Emperor Akbar visits a dervish, who has withdrawn from the world to dedicate himself exclusively to the pursuit of spiritual truth and knowledge. Many Mughal princes and emperors soughtthe advice of sages and mystics fortheir otherworldly wisdom and detached, impartial guidance. This image emphasises an ideal that prefers a humble spiritual life over worldly power.

King Dara and the Herdsman

Folio from the manuscript of Kulliyat (A Complete Collection of Poetry)of Sa`di (d. 1292)

Agra, India, ca. 1604Opaque watercolour, ink, and gold on paper

The Aga Khan Museum, AKM284.3

Benevolence

In this scene, a benevolent king allows himself to be approached and shamed by one of his own entourage after failing to recognize him and preparing to attack him in a moment of confusion, while lost and separated from his hunting companions.

Blue-and-White Base

Kangxi period, China, 1662-1722Porcelain, underglaze-painted


Patronage of Architecture, Art and Culture

Chinese blue-and-white porcelain as well as other export wares were highly valued at the courts of the Islamic world over centuries, and many rulers established exquisite palace collections, both for show and for use in royal and imperial households. This delicately painted vessel once formed part of a water pipe (huqqa), a smoking device that increasingly became a worldly status symbol among rulers and noblemen of Iran and India from the 16th century onwards.

Shah Ramin and HisCompanions Before The Marvellous City of Dar ul-Bekam

From the manuscript of Tuhfet ul-Leta’if of Ali b. Nakib Hamz

Ottoman Turkey, 1593-94Opaque watercolour, ink, gold and silver on paper


The Tuhfet ul-Leta’if charts the adventures of prince Shah Rahim and his beloved Mah-Pervin. The manuscript to which this folio belongs was copied and illustrated for the Ottoman Sultan Murad III (r. 1574-1595). The qualityof the calligraphy and the paintings are befitting for a royal patron, who would have had the highest aesthetic sensibilities. At the same time, the fantastical fortified city depicted in this folio refers to another key aspect of royal patronage – architecture and urban development.

Illuminated Album Page with Surah al-Fatiha

Signed by Ishaq al-Shahabi

Iran, ca. 1507-15Opaque watercolour, gold and ink on paper


The Surah al-Fatiha is the opening chapter of the Qur’an, often composed as a double-page frontispiece with lavish use of gold and lapis lazuli. Its design and execution provided a showcase for both the calligrapher and the illuminator, artists who – based on the reputation of their masterly skills – were regularly commissioned by high-ranking patrons, including members of the court or indeed the ruler himself. Unusually, this example is written in nasta‘liq script, the favoured script of 16th century Persian calligraphers usually reserved for poetry and prose.

Afrasiyab Talking with His Father Pashang

Folio from a dispersed Shahnameh (Book of Kings) of Shah Isma’il Attributed to Sadiqi Beg

Qazvin, Iran, 1576-77Opaque watercolour, gold, and ink on paper


This painting comes from a manuscript of the Shahnameh believed to have been completed for one of the Safavid rulers of Iran, Shah Isma'il (b. 1533-34, d. 1577). Many of its miniatures bear inscriptions that name some of the most important artists of the Safavids’ royal atelier. This example mentions Sadiqi Beg, the future director of the royal library and also an accomplished miniature painter in his own right. The scene depicted here in turn alludes to yet another aspect of royal patronage: the establishment of royal garden complexes, often key sites for court ceremonials.

Star-Shaped Panel withHeraldic Blazon

Egypt, 1470sIvory, wood, and metal in a wooden frame


The use of blazons or emblems in the Islamic world is unique to the Mamluks, who ruled Egypt and Syria from 1250 to 1517. Epigraphic heraldic emblems, like the one at the centre of this artefact, were usually the prerogative of a ruler,in this case most probably the Mamluk Sultan Qaitbay (r. 1468-1496). Given its size, the materials used and the exquisite decoration, this star-shaped panel was probably meant for one ofhis architectural commissions.

Selection of Scribal Implements

Ottoman Turkey, 18th–19th centuryVarious materials


The primary tool of Islamic calligraphy was the qalam or reed pen. A calligra-pher would have many reed pens at any one time, with different sizes and differently cut nibs used for different scripts. Some believed that beautiful tools and implements like the ones shown here contributed to the creation of beautiful writing. This set includes steel scissors and a steel rule all inlaid in gold, pen rests, ink wells, a silver gilt penbox and inkwell, a steel pen and a delicately painted container for scribal implements.

Folio from a (Album)

Signed by Muhammad Dara Shikoh

India, ca. 1630 (border 18th century) Opaque watercolour, ink, and gold on paper


Learning the art of calligraphy formedan essential part of royal erudition and education. In Mughal India, princes were taught calligraphy and painting by the masters of the court atelier. Once proficient, students would be called upon to write a number of showpiece specimens, demonstrating the maturing of their skills. This example, written in Persian, comes from the hand of Muhammad Dara Shikoh (1615-1659), the son of the Mughal emperor Shah Jahan.

Man Converses with Abu Muslim

Folio from the manuscript of Akhlaq-i Nasiri (Ethics of Nasir)by Nasir al-Din Tusi (d. 1274)

Lahore, Pakistan, 1590–95Opaque watercolour, ink, and gold on paper


Fairness, Justice and Honour

Abu Muslim was a controversial historical personality, revered by some and hated by others. Nevertheless, many remembered him as a ruler of honour. In this scene, a man is talkingill and disrespectfully about an enemy in front of Abu Muslim, assuming that this would please him. Abu Muslim’s reaction is unexpected: ‘It is one thing for me to stain my hands with their blood…, but what purpose or advantage will therebe in polluting one’s tongue with their honour?’

A Court Workshop

Folio from the manuscript of Akhlaq-i Nasiri (Ethics of Nasir) by Nasir al-Din Tusi (d.1274)



Erudition and Good Manners

This miniature shows a young prince being instructed in the art of calligraphy, an essential royal skill. It comes from a philosophical treatise on ethics, social justice and politics by the 13th-century Persian philosopher and scientist Nasir al-Din Tusi (1201-1274). Tusi’s text describes ideas about authority, the transmission of knowledge and attributes of the Virtuous City. It builds on a concept first developed by Plato and the philosopher al-Farabi(c. 872 - c. 950) – a fact exemplifying the strong legacy of Greek and Hellenistic thought in Islamic intellectual thought. According to Tusi, the proper functions of a city are maintained by Holders of Traditions, those masters who both practice and transmit their art. They, in turn, are subject to the Supreme Authority of a virtuous ruler.


Dish with Seated Rulerand Courtiers

Kashan, Iran, early 13th centuryFritware, lustre-painted


Approachability This lusterware dish depicts a princely enthronement scene, inspired by similar compositions in Islamic miniature painting. A centrally seated ruler at ease is flanked by courtiers, notably smaller in size to denote their lower status. Scenes like this one have a long history in Iran and can be traced back to earlier compositions of the enthroned ruler surrounded by his officials, current in Iranian art since pre-Islamic times.

The Art of Chivalry


Lahore, Pakistan, 1590-95Opaque watercolour, ink, and gold on paper


Courage and Chivalry

Among the three noble arts, Nasir al-Din Tusi mentions the art of chivalry, depicted here. According to him, its attainment depends on strength and courage as well as the mastery of horsemanship, military command skills and the ability to protect the frontiersof the realm. In this miniature, a young prince is obviously demonstrating his advanced skills in controlling a powerful horse while trying to catch a lance.

The King who Forgave a Man who Cursed Him

Folio from the manuscript of Kulliyat(A Complete Collection of Poetry) of Sa`di (d. 1292)



Benevolence

In an act of mercy and benevolence,a king on his grey steed approaches a man who had cursed him in anger when his own mount became stuck in a mire. Initially encouraged by his entourageto kill the insolent man, the ruler does nothing of the sort, but – on the contrary – honours him with gold, a horse anda fur coat.

Bowl with Horse Rider

and Bird

Nishapur, Iran, 9th century Earthenware, underglaze-painted


This beautiful bowl comes from Nishapur, for centuries an important political and cultural center, a seat of governmental power, home to a host of diverse ethnic and religious groups, and a trading stop on commercial routes from Transoxiana and China, Iraq and Egypt. The image of the princely horse rider on his elegantly adorned horse goes back to pre-Islamic times.

The exhibition, Ideals of Leadership: Masterpieces from the Aga Khan MuseumCollections, marks two special events taking place in Lisbon in July 2018: the celebration of the Diamond Jubilee of His Highness the Aga Khan as the 49th hereditary Imam ofthe Shia Imami Ismaili Muslims, and the visit of His Highness to Portugal at the invitation of His Excellency the President of the Republic. It is at the invitation of His Excellencythe President of the Assembly of the Republic that His Highness the Aga Khan will,on that occasion, address the high dignitaries of Portugal in the Senate Chamber.

It is fitting, on the occasion of these two events, to present an exhibition of aselection of miniature paintings and artefacts on loan from the Aga Khan Museum.

The stories depicted in the images and conveyed through the objects relate to some of the most important and timeless ideals of leadership that rulers aspired to through the ages.

Teaching rulers about the virtues of exemplary leadership has formed an integral part of political education in both the Islamic and Christian worlds across time and space. While Christian authors tended to rely on crafting a concrete, literal picture of the “ideal” prince, Muslim writers used storytelling, fables and analogies to convey wisdom and experience related to the art of governance.

The Aga Khan Museum in Toronto, Canada, established in 2014, offers unique insights

and new perspectives into Islamic civilisations and the cultural threads that weave

through history binding us all together. The Museum is a centre of education and of

learning and offers visitors a window into worlds unknown or unfamiliar: the artistic,

intellectual, and scientific heritage of Muslim civilizations across the centuries from

the Iberian Peninsula to China. Its mission is to foster a greater understanding and

appreciation of the contribution that Muslim civilisations have made to world

heritage. Through education, research, and collaboration, the Aga Khan Museum

seeks to promote dialogue, tolerance and mutual understanding among people.

About the Aga Khan Museum

“Trust, equity and accountability are key aspects

of good governance and leadership, which are

underpinned by the concepts of transparency,

meritocracy and competence, and motivated

and directed by demanding moral standards.”

His Highness the Aga KhanMuraqqa‘

Huqqa

Ideals ofLeadership:Masterpieces from the Aga Khan Museum Collections


The Court of King Solomon

Folio from an unidentified manuscriptPainting attributed to Madhu Khanazad

India, ca. 1600Opaque watercolour, ink, and gold on paper


Ideal Governance‘In sympathy he was like Jacob, in comeliness like Joseph, in fortitude like John, in sovereignty like Solomon’ states the poem above the seated figure in this miniature. The use of Old and New Testament figures as examples of virtue is common in Islamic literature due to the high respect and status they enjoyed in Islamic culture at large. To Muslims, as indeed to Jews and Christians, Solomon signifies the perfect image of the ideal king, invested with divine support and - according to some unorthodox, popular traditions - endowed with supernatural gifts and authority over living beings and natural forces.

A Prince Visits a Hermit

Folio from an albumPainting attributed to ‘Abd al-Samad Shirin Qalam

India, ca. 1585-90Opaque watercolour, ink, gold, and silver on paper The Aga Khan Museum, AKM122

HumilityIn this scene, a prince – possibly the Mughal emperor Akbar himself – is seated submissively before a solitary recluse, who lives withdrawn in a cave for a life of religious seclusion and contemplation. According to the emperor’s historian Abu’l-Fazl, it was rumoured in court circles that just sucha visit had inspired Akbar to adopt a more ascetic lifestyle, recognizing that earthly greatness is little compared to the spiritual rewards of existence.

Akbar and a Dervish

Folio from an albumPainted by ‘Abd al-Samad Shirin Qalam

India, ca. 1586 Opaque watercolour, ink, gold, and silver on paper


During a hunt, the Mughal Emperor Akbar visits a dervish, who has withdrawn from the world to dedicate himself exclusively to the pursuit of spiritual truth and knowledge. Many Mughal princes and emperors soughtthe advice of sages and mystics fortheir otherworldly wisdom and detached, impartial guidance. This image emphasises an ideal that prefers a humble spiritual life over worldly power.

King Dara and the Herdsman

Folio from the manuscript of Kulliyat (A Complete Collection of Poetry)of Sa`di (d. 1292)



Benevolence

In this scene, a benevolent king allows himself to be approached and shamed by one of his own entourage after failing to recognize him and preparing to attack him in a moment of confusion, while lost and separated from his hunting companions.

Blue-and-White Base

Kangxi period, China, 1662-1722Porcelain, underglaze-painted


Patronage of Architecture, Art and Culture

Chinese blue-and-white porcelain as well as other export wares were highly valued at the courts of the Islamic world over centuries, and many rulers established exquisite palace collections, both for show and for use in royal and imperial households. This delicately painted vessel once formed part of a water pipe (huqqa), a smoking device that increasingly became a worldly status symbol among rulers and noblemen of Iran and India from the 16th century onwards.

Shah Ramin and HisCompanions Before The Marvellous City of Dar ul-Bekam

From the manuscript of Tuhfet ul-Leta’if of Ali b. Nakib Hamz

Ottoman Turkey, 1593-94Opaque watercolour, ink, gold and silver on paper


The Tuhfet ul-Leta’if charts the adventures of prince Shah Rahim and his beloved Mah-Pervin. The manuscript to which this folio belongs was copied and illustrated for the Ottoman Sultan Murad III (r. 1574-1595). The qualityof the calligraphy and the paintings are befitting for a royal patron, who would have had the highest aesthetic sensibilities. At the same time, the fantastical fortified city depicted in this folio refers to another key aspect of royal patronage – architecture and urban development.

Illuminated Album Page with Surah al-Fatiha

Signed by Ishaq al-Shahabi

Iran, ca. 1507-15Opaque watercolour, gold and ink on paper


The Surah al-Fatiha is the opening chapter of the Qur’an, often composed as a double-page frontispiece with lavish use of gold and lapis lazuli. Its design and execution provided a showcase for both the calligrapher and the illuminator, artists who – based on the reputation of their masterly skills – were regularly commissioned by high-ranking patrons, including members of the court or indeed the ruler himself. Unusually, this example is written in nasta‘liq script, the favoured script of 16th century Persian calligraphers usually reserved for poetry and prose.

Afrasiyab Talking with His Father Pashang

Folio from a dispersed Shahnameh (Book of Kings) of Shah Isma’il Attributed to Sadiqi Beg

Qazvin, Iran, 1576-77Opaque watercolour, gold, and ink on paper


This painting comes from a manuscript of the Shahnameh believed to have been completed for one of the Safavid rulers of Iran, Shah Isma'il (b. 1533-34, d. 1577). Many of its miniatures bear inscriptions that name some of the most important artists of the Safavids’ royal atelier. This example mentions Sadiqi Beg, the future director of the royal library and also an accomplished miniature painter in his own right. The scene depicted here in turn alludes to yet another aspect of royal patronage: the establishment of royal garden complexes, often key sites for court ceremonials.

Star-Shaped Panel withHeraldic Blazon

Egypt, 1470sIvory, wood, and metal in a wooden frame


The use of blazons or emblems in the Islamic world is unique to the Mamluks, who ruled Egypt and Syria from 1250 to 1517. Epigraphic heraldic emblems, like the one at the centre of this artefact, were usually the prerogative of a ruler,in this case most probably the Mamluk Sultan Qaitbay (r. 1468-1496). Given its size, the materials used and the exquisite decoration, this star-shaped panel was probably meant for one ofhis architectural commissions.

Selection of Scribal Implements

Ottoman Turkey, 18th–19th centuryVarious materials


The primary tool of Islamic calligraphy was the qalam or reed pen. A calligra-pher would have many reed pens at any one time, with different sizes and differently cut nibs used for different scripts. Some believed that beautiful tools and implements like the ones shown here contributed to the creation of beautiful writing. This set includes steel scissors and a steel rule all inlaid in gold, pen rests, ink wells, a silver gilt penbox and inkwell, a steel pen and a delicately painted container for scribal implements.

Folio from a (Album)

Signed by Muhammad Dara Shikoh

India, ca. 1630 (border 18th century) Opaque watercolour, ink, and gold on paper


Learning the art of calligraphy formedan essential part of royal erudition and education. In Mughal India, princes were taught calligraphy and painting by the masters of the court atelier. Once proficient, students would be called upon to write a number of showpiece specimens, demonstrating the maturing of their skills. This example, written in Persian, comes from the hand of Muhammad Dara Shikoh (1615-1659), the son of the Mughal emperor Shah Jahan.

Man Converses with Abu Muslim




Fairness, Justice and Honour

Abu Muslim was a controversial historical personality, revered by some and hated by others. Nevertheless, many remembered him as a ruler of honour. In this scene, a man is talkingill and disrespectfully about an enemy in front of Abu Muslim, assuming that this would please him. Abu Muslim’s reaction is unexpected: ‘It is one thing for me to stain my hands with their blood…, but what purpose or advantage will therebe in polluting one’s tongue with their honour?’

A Court Workshop

Folio from the manuscript of Akhlaq-i Nasiri (Ethics of Nasir) by Nasir al-Din Tusi (d.1274)




This miniature shows a young prince being instructed in the art of calligraphy, an essential royal skill. It comes from a philosophical treatise on ethics, social justice and politics by the 13th-century Persian philosopher and scientist Nasir al-Din Tusi (1201-1274). Tusi’s text describes ideas about authority, the transmission of knowledge and attributes of the Virtuous City. It builds on a concept first developed by Plato and the philosopher al-Farabi(c. 872 - c. 950) – a fact exemplifying the strong legacy of Greek and Hellenistic thought in Islamic intellectual thought. According to Tusi, the proper functions of a city are maintained by Holders of Traditions, those masters who both practice and transmit their art. They, in turn, are subject to the Supreme Authority of a virtuous ruler.


Dish with Seated Rulerand Courtiers

Kashan, Iran, early 13th centuryFritware, lustre-painted


ApproachabilityThis lusterware dish depicts a princely enthronement scene, inspired by similar compositions in Islamic miniature painting. A centrally seated ruler at ease is flanked by courtiers, notably smaller in size to denote their lower status. Scenes like this one have a long history in Iran and can be traced back to earlier compositions of the enthroned ruler surrounded by his officials, current in Iranian art since pre-Islamic times.

The Art of Chivalry


Lahore, Pakistan, 1590-95Opaque watercolour, ink, and gold on paper


Courage and Chivalry

Among the three noble arts, Nasir al-Din Tusi mentions the art of chivalry, depicted here. According to him, its attainment depends on strength and courage as well as the mastery of horsemanship, military command skills and the ability to protect the frontiersof the realm. In this miniature, a young prince is obviously demonstrating his advanced skills in controlling a powerful horse while trying to catch a lance.

The King who Forgave a Man who Cursed Him

Folio from the manuscript of Kulliyat(A Complete Collection of Poetry) of Sa`di (d. 1292)



Benevolence

In an act of mercy and benevolence,a king on his grey steed approaches a man who had cursed him in anger when his own mount became stuck in a mire. Initially encouraged by his entourageto kill the insolent man, the ruler does nothing of the sort, but – on the contrary – honours him with gold, a horse anda fur coat.

Bowl with Horse Rider

and Bird

Nishapur, Iran, 9th century Earthenware, underglaze-painted


This beautiful bowl comes from Nishapur, for centuries an important political and cultural center, a seat of governmental power, home to a host of diverse ethnic and religious groups, and a trading stop on commercial routes from Transoxiana and China, Iraq and Egypt. The image of the princely horse rider on his elegantly adorned horse goes back to pre-Islamic times.

The exhibition, Ideals of Leadership: Masterpieces from the Aga Khan MuseumCollections, marks two special events taking place in Lisbon in July 2018: the celebration of the Diamond Jubilee of His Highness the Aga Khan as the 49th hereditary Imam ofthe Shia Imami Ismaili Muslims, and the visit of His Highness to Portugal at the invitation of His Excellency the President of the Republic. It is at the invitation of His Excellencythe President of the Assembly of the Republic that His Highness the Aga Khan will,on that occasion, address the high dignitaries of Portugal in the Senate Chamber.

It is fitting, on the occasion of these two events, to present an exhibition of aselection of miniature paintings and artefacts on loan from the Aga Khan Museum.

The stories depicted in the images and conveyed through the objects relate to some of the most important and timeless ideals of leadership that rulers aspired to through the ages.

Teaching rulers about the virtues of exemplary leadership has formed an integral part of political education in both the Islamic and Christian worlds across time and space. While Christian authors tended to rely on crafting a concrete, literal picture of the “ideal” prince, Muslim writers used storytelling, fables and analogies to convey wisdom and experience related to the art of governance.

The Aga Khan Museum in Toronto, Canada, established in 2014, offers unique insights

and new perspectives into Islamic civilisations and the cultural threads that weave

through history binding us all together. The Museum is a centre of education and of

learning and offers visitors a window into worlds unknown or unfamiliar: the artistic,

intellectual, and scientific heritage of Muslim civilizations across the centuries from

the Iberian Peninsula to China. Its mission is to foster a greater understanding and

appreciation of the contribution that Muslim civilisations have made to world

heritage. Through education, research, and collaboration, the Aga Khan Museum

seeks to promote dialogue, tolerance and mutual understanding among people.

About the Aga Khan Museum

“Trust, equity and accountability are key aspects

of good governance and leadership, which are

underpinned by the concepts of transparency,

meritocracy and competence, and motivated

and directed by demanding moral standards.”

His Highness the Aga KhanMuraqqa‘

Huqqa



ideals of leadership - aga khan development network

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