Muhammad Juki (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Muhammad Juki" in English language version.

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6books.google.com

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books.google.com

Barthold, Vasilii Vladimirovitch (1963). Four Studies on the History of Central Asia. Vol. 2. Brill Archive. p. 147.
Manz, Beatrice Forbes (2007). Power, Politics and Religion in Timurid Iran. Cambridge University Press. p. 247. ISBN 978-1-139-46284-6.
Binbaş, İlker Evrim (2016). Intellectual Networks in Timurid Iran: Sharaf al-Dīn 'Alī Yazdī and the Islamicate Republic of Letters. Cambridge University Press. p. 54. ISBN 978-1-107-05424-0.
Jackson, Peter; Lockhart, Lawrence (1986). The Cambridge History of Iran. Vol. VI. Cambridge University Press. p. 860. ISBN 978-0-521-20094-3.
DeWeese, Devin (2010). Islamization and Native Religion in the Golden Horde: Baba TŸkles and Conversion to Islam in Historical and Epic Tradition. Penn State Press. p. 338. ISBN 978-0-271-04445-3.
Woods, John E. (1990). The Timurid dynasty. Indiana University, Research Institute for Inner Asian Studies. pp. 45–46.

jstor.org

Sims, Eleanor (1992). "The Illustrated Manuscripts of Firdausī's "Shāhnāma" Commissioned by Princes of the House of Tīmūr". Ars Orientalis. 22: 53–54, Fig.15. ISSN 0571-1371. Two other features of a different kind also distinguish Ibrāhīm's Shāhnāma from those of his brothers. The first is the manner in which he "appears" in his own manuscript. It has long been assumed that, in the double-page frontispiece of Bäysunghur's Shahnama (fig. 16), the mounted figure accorded the royal prerogatives of the parasol, wine cup, and music is the prince himself, partly because of the resemblance to "portraits" in other of Baysunghur's manuscripts. In the same way -as has already been noted- Muhammad Jūkī's painters made use of the stylistic model furnished by the large and elaborate double-page battle scene in Ibrāhīm's Shāhnāma (fig. 1). Although Jūkī's "portrait" occurs in a picture of a different subject (fig. 15) in a very different location in the text, deep into the body of the manuscript, it occurs in virtually the same place within the unique double-page picture as does Ibrāhīm's in the corresponding picture of his Shahnama (fig. 1). Thus all three brothers share a position on the right of an ample double-page picture, mounted on horseback and shaded by the princely parasol. There, however, the resemblance ceases. In the cases of both Bāysunghur and Muhammad Jūkī, this is their only "appearance" in their manuscripts, while Ibrāhīm is repeatedly woven into traditional pictorial formulations in his Shāhnāma.

worldcat.org

search.worldcat.org

Sims, Eleanor (1992). "The Illustrated Manuscripts of Firdausī's "Shāhnāma" Commissioned by Princes of the House of Tīmūr". Ars Orientalis. 22: 53–54, Fig.15. ISSN 0571-1371. Two other features of a different kind also distinguish Ibrāhīm's Shāhnāma from those of his brothers. The first is the manner in which he "appears" in his own manuscript. It has long been assumed that, in the double-page frontispiece of Bäysunghur's Shahnama (fig. 16), the mounted figure accorded the royal prerogatives of the parasol, wine cup, and music is the prince himself, partly because of the resemblance to "portraits" in other of Baysunghur's manuscripts. In the same way -as has already been noted- Muhammad Jūkī's painters made use of the stylistic model furnished by the large and elaborate double-page battle scene in Ibrāhīm's Shāhnāma (fig. 1). Although Jūkī's "portrait" occurs in a picture of a different subject (fig. 15) in a very different location in the text, deep into the body of the manuscript, it occurs in virtually the same place within the unique double-page picture as does Ibrāhīm's in the corresponding picture of his Shahnama (fig. 1). Thus all three brothers share a position on the right of an ample double-page picture, mounted on horseback and shaded by the princely parasol. There, however, the resemblance ceases. In the cases of both Bāysunghur and Muhammad Jūkī, this is their only "appearance" in their manuscripts, while Ibrāhīm is repeatedly woven into traditional pictorial formulations in his Shāhnāma.