ABSTRACT The creation of Timur’s kingly image was the work of his chroniclers and in particular the achievement of ‘Ali Yazdi, whose literary masterpiece, the Zafarnama (“Book of Victory”), was commissioned by Timur’s grandson, Ibrahim-Sultan, prince governor of Shiraz in southern Persia (r. 1415–1435). Yazdi’s work became a byword for rhetorical elegance and was reproduced in many tens of manuscripts; some of these, including the first known copy, dated 1436, were illustrated. Within the corpus of illustrated manuscripts and the paintings they contain, I differentiate between royal or court commissions, such as those produced for Timur’s descendants, and provincial or commercial ones produced in the next century, and the effect this may have had on the choice of scenes to illustrate. Among these, it is helpful to distinguish between “generic” scenes of battle, single combats, hunting and the ruler’s court, and specific scenes of particular events, often found in a unique image, and their relationship with the written text. While these illustrations cannot be viewed as visual sources for the history of the events they depict, they can be regarded as evidence of how Timur’s career was perceived and understood by subsequent generations.

中文翻译：

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可视化帖木儿：历史及其形象

摘要 帖木儿国王形象的创造是他的编年史家的工作，特别是阿里亚兹迪的成就，他的文学杰作《胜利之书》是由帖木儿的孙子易卜拉欣苏丹委托的波斯南部的设拉子（1415-1435 年在位）。亚兹迪的作品成为修辞优雅的代名词，并被复制到数十部手稿中；其中一些，包括第一个已知的副本，日期为 1436 年，插图。在插图手稿和其中包含的画作的语料库中，我区分了皇家或宫廷委托，例如为帖木儿的后代制作的委托，以及下个世纪制作的省级或商业委托，以及这可能对选择的影响场景来说明。在这些当中，区分战斗、单打、狩猎和统治者宫廷的“一般”场景，以及经常出现在独特图像中的特定事件的特定场景，以及它们与书面文本的关系是有帮助的。虽然这些插图不能被视为它们所描绘事件历史的视觉来源，但它们可以被视为后代如何看待和理解帖木儿职业生涯的证据。