Related

Tile Panel
Tile with Floral and Cloud-band Design
Carpet
Velvet and Silk Carpet
Palampore
Velvet Panel with Flowering Plants
Textile Fragment
Carpet with Triple-Arch Design
Royal Carpet with Silk and Metal Thread
Garden Gathering
Rectangular Textile Fragment
Carpet with Scrolling Vines and Blossoms
Silk Kashan Carpet
Tile Panel
Mandala Base
Textile Fragment
"Lotto" Carpet
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.
Spiegellijst, beschilderd met vier allegorische vrouwenfiguren
European Banquet Scene (or The Marriage Feast at Cana?)
Silk Animal Carpet
Canopy with Dragon among Flowers
Bottle with Birds and Peony Scroll
Carpet with Palm Trees, Ibexes, and Birds
Thangka with the Seventh Bodhisattva
Jar with Lion-Head Handles
Silk Velvet Designed by 'Ghiyath'
"Black Buck", Folio from the Shah Jahan Album
Tigers Chasing Deer, with Dragon
Fragment (Dress Fabric)
Velvet Fragment with Design from Nizami of Ganja's Khusrau and Shirin
Bridal Robe (Hwarot)
Five Medallion Carpet
Buddhist Priest's Ceremonial Robe
Ovoid jar with women with a yoke in scalloped panels
Pink and Rose
Panel with the god Zeus/Serapis/Ohrmazd and worshiper
Floral Tent Panel
"Dancing Dervishes", Folio from a Divan of Hafiz
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.
Wine Cup with Children at Play
Length of velvet
Ovoid covered jar with flower scrolls in lappet borders
The Emperor's Carpet
Dragon in foliage with lion and phoenix heads
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.
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.
Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)
Covered cylindrical beaker with leaf-motif
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.
Frise des archers
Waistcoat
Foliate-Shaped Tray with Mother-of-Pearl Inlay
Quilt
Jar with wooden cover and two large flower groups
Cover Panel for a Tihong
Conical coffee pot with flowering lotus
Accordion
Manjushri
A Stallion
This illustration from Walters manuscript W.644 depicts Zulaykha in a blue-domed litter on a camel led by a cameleer. The retinue is entering the capital of Egypt.
Flowers and Goldfish
Hilma af Klint — The Ten Largest — Number 10 Old Age
Bowl with inscription and chrysanthemums and tortoiseshell decoration
Alexander the Great Enthroned at Persepolis
Green Tara
Textile
Buddhist Deities
Hanger in de vorm van een kruis
Bowl with Inscription, "Sovereignty is God's"
Belt clasp
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.
Young Woman Smoking a Huqqa
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).
Folio from a Qur'an Manuscript
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.
Jewelry Elements
Irises
Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar
Four Portraits from the St. Petersburg Album. Painters unknown, borders by Muhammad Sadiq. Top left: Nadir Shah, Iran, ca. 1740. Top right: Adil Shah, Iran, ca. 1748. Bottom left: Unidentified nobleman, Mughal school, 18th century. Bottom right: Unidentified nobleman, Mughal school, 18th century. Art Institute of Chicago 1919.952 recto
Reukflacon
Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi
Flowers and Grasses
Portrait of a Ladakhi Mountain Goat
Folio from a Qur'an Manuscript
Leaf from Album of Persian Calligraphy
Cravat end
Blue Magpie on a Maple Branch
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.
Iris, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
A Messenger is Dispatched: Page from a Dispersed Manuscript
Collection of Poems (Divan)
Hunting Scene
Hanger in de vorm van een reukbal
Initial "P" (Primum quidem)
Tomb Guardian with Animal Head
Hanger met ruiter op postament
Animal-Spouted Pitcher
Terracotta dinos (mixing bowl)
Dung-Chen