Culture: Indian, HinduMaterials/Techniques: brassNote: General note: Lowe Art Museum, "Change and Continuity. Fold and Tribal Art of India." U. of Miami, 2004.
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 2590-29.
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 2590-74.
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 3194-27.
Culture: Islamic, PersianMaterials/Techniques: oil (substance), paperNote: General note: Based on a drawing by A. D. Soltykov, who accompanied the Russian mission to Persia, depicting himself drawing the Prince on a visit to Tabriz in 1838. The image was also a plate in Soltykov's Voyage en Perse (1851).
Culture: Islamic, PersianMaterials/Techniques: oil (substance), paperNote: General note: Based on a drawing by A. D. Soltykov, who accompanied the Russian mission to Persia, depicting himself drawing the Prince on a visit to Tabriz in 1838. The image was also a plate in Soltykov's Voyage en Perse (1851).
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 3194-18.
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 3194-15.
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
613 folios, 44 miniatures, of which 15 are copies of Baysunghur Shahnama (Gulistan, ms. 716). Originally thought to be Timurid revival in the Safavid period, but the chemical analysis showed 19th c.Culture: Islamic, PersianMaterials/Techniques: opaque watercolor, ink, gold, paperNote: General note: Part of the Spencer Collection
A separated album leaf showing man pouring wine (recto) and woman pouring wine (verso)Culture: Persian, IslamicMaterials/Techniques: opaque watercolor, gold, paper
Culture: PersianNote: General note: A copy of this photo can be found at the Museum of Anthropology and Ethnography, St. Petersburg, Russia (Kunstkamera), accession No. 2590-8.
Culture: Islamic, PersianMaterials/Techniques: steel, goldNote: Inscription: In the year 1035 this golden helmet was finished; keep blessed the head which always carries this helmet on its brow.Note: Inscription: One with a helmet on his head, all gold and jewels, in the reign of Shah Abbas, world conquering, world sustaining. How shall I describe him, glowing with youth, his helmet is like a heavenly moon.Note: Inscription: In the reign of the King of Kings, as exalted as Darius, this golden helmet was finished, an all bounteous, world conquering prince endowed with glory and fame...Padishah, Shah Abbas, whose sway extends from China to Syria. It behoves to to place such a helmet as this on the head of (warriors) with pomp and state a thousandfold. None befits it than the brow of the Shah, whose rule sways all, high and low. Keep blessed the head which always carries this helmet on its brow...The crown of the heads of the prophets...Oh thou Compassionate, thou Bounteous.
The figure is surrounded by text blocks containing 20 lines of Persian poetry from various sources, all referencing the story of Layla and Majnun.Culture: Persian, IslamicMaterials/Techniques: gold, ink, opaque watercolor, paper
The figure is surrounded by text blocks containing 20 lines of Persian poetry from various sources, all referencing the story of Layla and Majnun.Culture: Persian, IslamicMaterials/Techniques: gold, ink, opaque watercolor, paper
The figure is surrounded by text blocks containing 20 lines of Persian poetry from various sources, all referencing the story of Layla and Majnun.Culture: Persian, IslamicMaterials/Techniques: gold, ink, opaque watercolor, paper
One of 30 album folios of Mughal, Deccani, Rajasthani, Persian, and Bukharan paintings, 16th -19th cent. No accession information.Culture: Indian, Iranian, Persian, UzbekMaterials/Techniques: ink, pigment, paper