{
 "id": "concept/horse-colours-in-timurid-painting",
 "class": "concept",
 "slug": "horse-colours-in-timurid-painting",
 "label": {
  "ar": "ألوان الخيل وشياتها في التصوير التيموري",
  "en": "Horse colours and markings in Timurid painting"
 },
 "summary": {
  "ar": "تصنّف المخطوطات التيمورية الخيل بألوانها (الأشهب والأحمر والأصفر والأسود) وبشياتها (الغرة والتحجيل والبقع)، وتقرأ الباحثة هذه الفروق بوصفها دليلاً على الخيول الحقيقية في سمرقند وهراة وشيراز، فتعين بها مراكز التصوير.",
  "en": "Timurid manuscript painters drew horses in distinct colours (white, red, yellow, black) and markings (blazes, leg whites, spots). Fayed reads these differences as evidence of real horse types in Samarkand, Herat and Shiraz, and uses them to place paintings in their centres."
 },
 "stub": false,
 "wings": [
  "made"
 ],
 "regions": [
  "persia-central-asia"
 ],
 "periods": [
  "period/mongol-post-mongol"
 ],
 "tags": [],
 "aliases": [],
 "themes": [
  "arts-of-the-book",
  "images-and-figural-art"
 ],
 "data": {
  "kind": "art_form",
  "sources": [
   "source/fayed-horse-colours-timurid-painting"
  ],
  "status": {
   "review": "draft",
   "completeness": 2,
   "generated_by": "Claude Haiku 5.5; claims in the book-5 claims table, pp. 246–262"
  },
  "provenance": {
   "layer": "own-research",
   "source": "Fayed, pp. 246–262 (printed)",
   "generated_by": "Claude Haiku 5.5 (book-5 harvest)",
   "model": "claude-haiku-5-5",
   "run": "book-5-horse-colours"
  }
 },
 "prose": {
  "ar": {
   "sections": [
    {
     "heading": "موجز",
     "markdown": "تصف المخطوطات التيمورية الخيل بألوان متعددة وشيات مختلفة. تقرأ غادة عبد السلام ناجي فايد هذا التنوع بوصفه انعكاساً لخيول حقيقية عاشت في البيئات التي أُنتجت فيها الصور، فتتخذه أداة لتعيين مراكز التصوير في سمرقند وهراة وشيراز {cite:fayed-horse-colours-timurid-painting 246}."
    },
    {
     "heading": "لماذا تهمّ الخيل في التصوير",
     "markdown": "كانت الخيول الوسيلة الأولى للحركة في السلم والحرب، وكانت الفروسية من سمات الحكام والسلاطين، وتُمارَس بوصفها رياضة ومتعة وصيداً ووسيلة رزق {cite:fayed-horse-colours-timurid-painting 246}. ولأن الفنان يتأثر ببيئته، فإن خيل الصور تحمل أثر الخيل التي كان يراها {cite:fayed-horse-colours-timurid-painting 246}."
    },
    {
     "heading": "مجموعات الألوان",
     "markdown": "تقسم الباحثة الألوان إلى أربع مجموعات: الأشهب (الأبيض) وهو أولها {cite:fayed-horse-colours-timurid-painting 247}، ثم الأحمر (ومنه الكميت والأشقر) {cite:fayed-horse-colours-timurid-painting 248}، ثم الأصفر {cite:fayed-horse-colours-timurid-painting 249}، ثم الأسود (ومنه الأدهم) {cite:fayed-horse-colours-timurid-painting 249}. انظر [[concept/al-ashhab|الأشهب]] و[[concept/al-kumayt|الكميت]] و[[concept/al-asfar|الأصفر]] و[[concept/al-adham|الأدهم]]."
    },
    {
     "heading": "الشيات",
     "markdown": "الشِّية كل لون يخالف اللون الغالب على الفرس، والفرس الذي لا شية فيه بهيم مصمت {cite:fayed-horse-colours-timurid-painting 250}. وتذكر الباحثة أن خيول سمرقند وهراة كانت مستوردة من ختلان، وأنها تحمل الشيات، فظهرت الغرر والتحجيل في صور المدينتين {cite:fayed-horse-colours-timurid-painting 250}. انظر [[concept/al-shiya|الشية]] و[[concept/al-ghurra|الغرة]] و[[concept/al-tahjil|التحجيل]]."
    },
    {
     "heading": "شيراز",
     "markdown": "ترى الباحثة أن خيول شيراز كانت بهيمة مصمتة لا شية فيها، وأن صورة صيد في مخطوط سنة 801هـ لا تنتمي إلى مدرسة شيراز لأن خيولها ذات غرر {cite:fayed-horse-colours-timurid-painting 254}. هذا رأي المؤلفة وتعلّل فيه نسبة الصورة، وقد يحتاج إلى مراجعة عند الباحثين الآخرين."
    },
    {
     "heading": "بهزاد",
     "markdown": "تعزو الباحثة تنوع الشيات في صور بهزاد إلى اطلاعه على كتاب «فرس نامة» الذي كان لشاه قلي رئيس إسطبل السلطان حسين ميرزا بايقرا، وهو كتاب في الخيل وألوانها وشياتها {cite:fayed-horse-colours-timurid-painting 255}. وهذا تفسير تبنّته المؤلفة استناداً إلى المصادر التاريخية، ولم يُتحقق منه هنا."
    },
    {
     "heading": "حدود الاستدلال",
     "markdown": "تنبّه المؤلفة إلى أن كثيراً من الصور الملونة في دراستها مأخوذ من مواقع متاحف عالمية، ولا تستطيع الجزم بأنها نُشرت أول مرة هنا {cite:fayed-horse-colours-timurid-painting 247}. فالقراءة الواردة في هذه الصفحة رأي المؤلفة، لا حكم نهائي."
    },
    {
     "heading": "المصادر",
     "markdown": "- {cite:fayed-horse-colours-timurid-painting 246-255}"
    }
   ],
   "frontmatter": {
    "id": "concept/horse-colours-in-timurid-painting",
    "lang": "ar",
    "source_lang": "ar",
    "translators": []
   },
   "updated": "2026-10-23"
  },
  "en": {
   "sections": [
    {
     "heading": "Summary",
     "markdown": "Timurid manuscripts show horses in many colours and markings. Ghada Abd al-Salam Naji Fayed reads this variety as a reflection of real horses in the places where the pictures were made, and uses it to place painting centres in Samarkand, Herat and Shiraz {cite:fayed-horse-colours-timurid-painting 246}."
    },
    {
     "heading": "Why horses matter in painting",
     "markdown": "Horses were the main means of movement in peace and war. Horsemanship marked rulers and commanders, and was practised as sport, pleasure, hunting and a source of livelihood {cite:fayed-horse-colours-timurid-painting 246}. Because painters were shaped by their surroundings, the horses in the pictures carry the mark of the horses they saw {cite:fayed-horse-colours-timurid-painting 246}."
    },
    {
     "heading": "Colour groups",
     "markdown": "The author divides the colours into four groups: white (al-ashhab), which comes first {cite:fayed-horse-colours-timurid-painting 247}; red, including al-kumayt and al-ashqar {cite:fayed-horse-colours-timurid-painting 248}; yellow {cite:fayed-horse-colours-timurid-painting 249}; and black, including al-adham {cite:fayed-horse-colours-timurid-painting 249}. See [[concept/al-ashhab|al-ashhab]], [[concept/al-kumayt|al-kumayt]], [[concept/al-asfar|al-asfar]] and [[concept/al-adham|al-adham]]."
    },
    {
     "heading": "Markings",
     "markdown": "A marking (al-shiya) is any colour that differs from the horse's main colour; a horse with none is called bahim musmat {cite:fayed-horse-colours-timurid-painting 250}. The author argues that horses in Samarkand and Herat were imported from Khutlan and carried markings, so blazes and white legs appear in the pictures of those cities {cite:fayed-horse-colours-timurid-painting 250}. See [[concept/al-shiya|marking]], [[concept/al-ghurra|blaze]] and [[concept/al-tahjil|white on the legs]]."
    },
    {
     "heading": "Shiraz",
     "markdown": "The author argues that Shiraz horses were plain, without markings, and that a hunting scene in a manuscript of 801 AH does not belong to the Shiraz school because its horses have blazes {cite:fayed-horse-colours-timurid-painting 254}. This is her view on attribution and may be contested by other scholars."
    },
    {
     "heading": "Bihzad",
     "markdown": "The author ties the variety of markings in Bihzad's paintings to his access to a book on horses, the Farsnama, which belonged to Shah Quli, head of the stables of Sultan Husayn Mirza Bayqara {cite:fayed-horse-colours-timurid-painting 255}. She draws this from the historical sources; it has not been checked here."
    },
    {
     "heading": "Limits of the argument",
     "markdown": "The author notes that many of the coloured reproductions in her study come from museum websites, and that she cannot be sure they have not been published before {cite:fayed-horse-colours-timurid-painting 247}. The readings on this page are the author's, not final judgements."
    },
    {
     "heading": "Sources",
     "markdown": "- {cite:fayed-horse-colours-timurid-painting 246-255}"
    }
   ],
   "frontmatter": {
    "id": "concept/horse-colours-in-timurid-painting",
    "lang": "en",
    "source_lang": "ar",
    "translators": [],
    "provenance": {
     "layer": "translation",
     "generated_by": "Claude Haiku 5.5 (book-5 harvest)",
     "model": "claude-haiku-5-5",
     "run": "book-5-horse-colours",
     "source": "content/ar/concept/horse-colours-in-timurid-painting.md"
    },
    "status": {
     "review": "draft"
    }
   },
   "updated": "2026-10-23"
  }
 },
 "degree": 0,
 "contemporaries": [],
 "updated": "2026-10-23",
 "connections": [],
 "related": [
  "object/griffin-pisa",
  "concept/aniconism-in-islam",
  "concept/arabesque",
  "concept/girih",
  "concept/hedwig-glass",
  "concept/islamic-calligraphy",
  "concept/islamic-geometric-patterns",
  "concept/islamic-lustreware"
 ],
 "license": {
  "prose": "CC BY-SA 4.0",
  "data": "CC0 1.0"
 }
}