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Walters manuscript W.619 is an illuminated manuscript containing 2 works by Sa"di (died 691 AH/AD 1292): the Gulistan (Rose garden) and the Bustan (Orchard). It was copied in 980 AH/AD 1572 by Muhammad Riza al-Tabrizi in Iran. The text of the Gulistan appears in the main area, while that of the Bustan is inscribed obliquely around the main text area on three sides. Both texts are written in black and gold nasta"liq script. The margins are multi-colored, gold-sprinkled tinted or marbled paper. The original leather binding dates to the 10th century AH/AD 16th and has dentelle-style decorated boards and doublures with gold filigree work over a multi-colored ground of blue, green, red, and black.
This illuminated title page from Walters manuscript W.581 gives the title of the work, as well as the authors' names. There is also a statement referring to the patronage of the manuscript, indicating that it was made for the Mawlawi (Mevlevi) Library (bi-rasm al-Khizanah al-Karimah al-"Aliyah al-Mawlawiyah).
Collection of Poems (Divan)
This folio from Walters manuscript W.580 is the left side of an illuminated double-page frontispiece of geometric design in gold, red, blue, and green, with a marginal rosette at the left.
Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.
Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.
Leaf from Album of Persian Calligraphy
The top and bottom panels of this illuminated finispiece from Walters manuscript W.578 are inscribed with the basmalah and hamdalah in white Thuluth script. The Qur'anic verses in the central panel are written in Square Kufic.
Pichhwai for the Festival of Cows
This page from Walters manuscript W.674 bears 4 diplomas written within illuminated cartouches inscribed in ijazah script by the following master calligraphers: Yaziji zadah, Isma'il al-Zuhdi Katib al-Saray al-Sultani, Muhammad Hasib, and 'Ali al-Wasfi. The page is dated 1219 AH/AD 1804-1805.
European Banquet Scene (or The Marriage Feast at Cana?)
The Flood of Noah (Genesis 7:11-24)
Textile
Writing Box (Suzuribako) with Phoenix in Paulownia
This drawing, Walters manuscript leaf W.749, was executed in Safavid Iran, most probably in the late 10th century AH/AD 16th, in Qazvin or Isfahan. Above, a farmer plows; below, a seated young man watches a produce seller weigh his purchase. On the rocks in the center foreground is inscribed the name of one of the most famous painters in Iran in the 11th century AH/AD 17th, Riza 'Abbasi (active 1001-1044 AH/AD 1591-1592 to 1634). As the handwriting does not match that of the artist, an admirer of Riza's work seems to have attributed the drawing to him. The execution and the bucolic subject matter of this drawing relate closely to the oeuvre of the Persian artist Muhammadi Haravi (active late 10th century AH/AD 16th), who worked in Qazvin. It is possible that this composition was conceived as a manuscript page.
Textile Fragment
Coffre des pierreries de Louis XIV
This is the final illuminated page in the codex, Walters W.582. The last panel contains the colophon, written in Riqa' script, giving the name of the scribe as Habib Allah ibn Dust Muhammad al-Khwarizmi.
Folio from a Qur'an Manuscript
Carpet with Scrolling Vines and Blossoms
Five Medallion Carpet
The Emperor's Carpet
Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara
Silk Velvet Designed by 'Ghiyath'
"Black Buck", Folio from the Shah Jahan Album
Silk Animal Carpet
Knife Sheath
A Stallion
Folio from a Qur'an Manuscript
Silk Kashan Carpet
Leaf from Book of Hours
The setting for the painting is the royal stables in Isfahan. The upper portion of the scene consists of a platform on which are gathered the shah, or Persian king, who appears next to the column on the right; five kneeling courtiers; and various attendants serving fruit and wine. The king is identified in the artist’s signature at the upper left as Shah ‘Abbas II, who died in 1666, but it is possible that the undated painting was executed after his death. The ruler’s status is emphasized by his golden halo and by the opulent gold and jeweled vessels placed before him. The lower portion shows a roundup of horses who bear the trident-like royal brand on their flanks; they move in a spiral that coils counterclockwise from the upper right. The scene bursts with energy and looks chaotic—a brawl is taking place at the lower left—but the courtiers and handlers seem to be getting control of the animals. The figures on the platform, meanwhile, pay no attention to the commotion below. The painting represents a new journalistic, even anecdotal approach to Persian painting introduced in the second half of the seventeenth century. The viewer gets the sense that the work may record a specific moment in daily life at court and that it was observed firsthand. Figures no longer conform to stock types but are highly individualized by facial features and dress. Standing just to the right of center in the upper part of the roundup scene is a man wearing a gold, fur-lined, armless jacket. He holds a list and is writing notes while conferring with a young man in a blue robe. The man taking notes may well be the supervisor of the royal stud, one of whose responsibilities was to inspect the king’s stables and keep an inventory of the animals.
Cover Panel for a Tihong
Cosmetics Box with Chrysanthemums
"Dancing Dervishes", Folio from a Divan of Hafiz
Floral Tent Panel
Alexander the Great Enthroned at Persepolis
Carpet with Triple-Arch Design
Velvet and Silk Carpet
The Wade Cup with Animated Script
Dragon in foliage with lion and phoenix heads
"Lotto" Carpet
Center table
Mandala Base
Ceremonial Cross of Countess Gertrude
Helmet with divine figures beneath a bird with outstretched wings
Cape
Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays
Canopy with Dragon among Flowers
Helmet (Spangenhelm)
Cabinet
Birds and Flowers
Rosewater ewer
On this folio from Walters manuscript W.653, a middle-aged woman stands in a landscape, holding a vase of flowers. The salmon pink margins are stenciled with animal and floral forms. The catchword at the lower left indicates that the following folio is missing.
Belt clasp
Siermes
Covered box decorated with chrysanthemums and waterfowl among lotus
Royal Carpet with Silk and Metal Thread
Table Fountain
Length of velvet
Grapevine in the Wind
Accordion
Portrait of Emperor Jahangir
Charles II of Valois, duke of Orléans.
Portrait of a Ladakhi Mountain Goat
"The Concourse of the Birds", Folio 11r from a Mantiq al-Tayr (Language of the Birds)
A Virtuous Woman Placates the King by Plucking Out Her Eyes
Tánggǔ (堂鼓)
Young Woman Smoking a Huqqa
Fragment (Dress Fabric)
Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771
Carpet
Schetsen van Hokusai - deel 5
Shown from the hips up, a young woman holds an upright baby against a richly patterned gold background in this vertical panel painting, which comes to a point at the top center. The woman nearly fills the panel, and she looms over a very small man kneeling in the lower left, facing our right in profile. The people all have ivory-white skin with a greenish cast, and petal-pink cheeks. The woman’s body faces us, supporting the baby in the curve of her left arm, our right. Thin, tawny-brown eyebrows arch over her hazel, almond-shaped eyes, which gaze off to our right. She has a long, narrow nose and small rose-pink mouth. Her head tilts to our right and is covered by an ivory-white cloth that frames her round face and wraps around the neckline of her burgundy-red gown. Over the white cloth and red dress, a long, midnight-blue mantle trimmed with gold covers her head, shoulders, and arms. A gold starburst adorns one shoulder. Tucked in the woman’s elbow to our right, the baby faces our left and wears a sheer garment covered by a burgundy-red, gold-edged cloth draped across his shoulders, back, and legs. The child has short, wavy, peach-colored hair and echos the woman’s thin eyebrows and hazel eyes. He reaches out with his right hand, to our left, to clutch her scarf while his other hand delicately touches the fingers of her hand, which brushes his chest. The man in the lower left is significantly smaller in scale so his kneeling body comes only up to the woman's elbow. His blond hair is cut in a ring above the ears, and he wears a dove-gray cloak with a long hood falling back over his shoulders. His right hand is raised, fingers extended, and he tilts his head up to look at the woman. Intricate, patterned halos surrounding the heads of the woman and child are punched and incised into the gold background. A decorative border of flowers, leaves, and dots line the sides of the panel and meet at the pointed top. Areas of brick red show through some areas of the gold background.
Lakeside Retreat
Denshin kaishu Hokusai manga nihen
Saint in Red Cloak
Shown from the chest up on the far side of a narrow ledge, a woman wearing an elaborate headdress and gown faces our left in profile in this vertical portrait painting. Her pale-peach skin is smooth with little shading around the features. The hazel eye we see is heavy-lidded under a thin, arched brow. The woman has a notably high forehead and a sloped nose. Her lips are closed over a knobby chin and fleshy jawline. Her hair is gathered up in a fine gold net under a twisted, ring-like headdress held in place with long gold pins. The fabric of the headdress alternates between twists of parchment brown or light brown patterned with red or darker brown leaf patterns. A network of muted blue dots encircled with gold does not quite line up with the headdress it overlays. The high collar of the woman’s peacock-blue dress flares up the back of her head over a white collar that curls away along either side of her chin. The garment is covered with flowers and stems outlined in gold. There are thick gold bands at her neck and around her waist. A chain made up of two strands of gold orbs like oversized beads hangs from the shoulder closer to us and then wraps around her body. A gold pendant near her neck may be two chain links or a thin letter B. Light glints off the ledge along the bottom of the painting, and the background is inky black.
Processional cross
Books and Scholars’ Accoutrements
Autumn Evening with Full Moon on Musashino Plain
Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama
A Young Prince on Horseback
Foliate-Shaped Tray with Mother-of-Pearl Inlay
An Old Sufi Laments His Lost Youth
Chair (Kiti Cha Enzi)
Lontslotmusket met vuursteenslot uit latere periode
Dagger-axe
Buddhist Priest's Ceremonial Robe
Relief: two servants bearing food and drink
Peacocks and Bamboo
In the margins are depicted hybrid angel-musicians, a bear-trainer and musicians, apes trapping a bird, apes at school, a nude man at the far left, and an ape kneeling before a doctor with a urinal.
Phoenixes and Paulownia
The Greedy Dog
Fire Screen
Guitar
Flowers and Birds in a Spring Landscape
Birds and Flowers
Ōtsu-e of a Youth Holding Irises (Yarō)
Ewer