CMA: Islamic Art

Mirror with Addorsed Sphinxes

Mirror with Addorsed Sphinxes https://clevelandart.org/art/1995.402

Qur'an Manuscript Folio (verso)

Qur'an Manuscript Folio (verso) https://clevelandart.org/art/1933.482.b

The <em>Gulistan, </em>completed around 1258, is one of the most celebrated works of Persian literature. The book’s name means “rose garden” in Persian; just as a rose garden is a collection of flowers, the contents are a collection of anecdotes. Written in both prose and verse, the <em>Gulistan </em>was used for centuries as a primer for schoolchildren in greater Iran, India, and Turkey. The text on these pages is written in <em>nastaliq </em>script and comes from the first chapter, “On the Conduct of Kings.”<br>The exquisite borders of these two folios show lions, dragons, foxes, and peacocks in a lush landscape, painted in gold and silver that has tarnished over time.

Illuminated Folio (verso) from a Gulistan (Rose Garden) of Sa'di (c. 1213-1291) https://clevelandart.org/art/2006.147.b

Master and Disciple in a Garden Pavillion; Single Page Illustration

Master and Disciple in a Garden Pavillion; Single Page Illustration https://clevelandart.org/art/1939.508

Mirror Stand

Mirror Stand https://clevelandart.org/art/1983.1111

Bowl

Bowl https://clevelandart.org/art/1944.478

Storage Jar

Storage Jar https://clevelandart.org/art/1915.665

<em>The Benefits of Animals </em>describes the physical characteristics of many different animals and provides their medicinal uses at the time. Most of the text on this page is a continuation of a section about doves from the previous page. It says, for example, that blood from dove wings cures sore eyes and cooked dove egg mixed with honey and a little borax is good for those with liver complaints. The large title written in Kufic script near the bottom of the page translates as “The Quail and its Qualities and Benefits,” marking the beginning of the next section. The illustration depicts two quails in active postures.<br><br>The Mongol ruler of Iran from 1295 to 1304, Ghazan Khan, commissioned a Persian translation of the Arabic text, and this important page is from one of the earliest illustrated manuscripts.

On the Benefits of Quails (verso) from a Manafi' al-Hayawan (On the Usefulness of Animals) of Ibn Bakhtishu' (d. 1058) https://clevelandart.org/art/1945.382.b

This page contains two quatrains—poems made up of four lines. The diagonally written text in the center of the page is a poem addressed to a ruler, expressing hope for his success and the downfall of his enemies. The second poem is split between the horizontal panels at the top and bottom of the page. This quatrain praises the beauty of the writer’s beloved, saying that “her moonlike face can steal away a hundred besotted hearts.” At the right are calligraphic exercises displaying letters of the alphabet and the virtuoso skill of the calligrapher Sultan Muhammad Khandan, who signed the page in the triangle at the lower left of the inner text block.

Persian Quatrains (Rubayi) and Calligraphic Exercises (recto); Persian Verse (khamriyya) (verso) https://clevelandart.org/art/1983.1115

Single-page depictions of courtly figures became popular in Iran during the 1500s. The subject here conveys Safavid ideals of female beauty. Long dark hair falls in jeweled braids down to her ankles, while shorter tendrils frame her full, smooth face. She is shown in the three-quarter profile favored in Persian painting. The contrasting colors of the bright blue of her robe and the orange of her sash and tunic beneath are features of Safavid fashion.

Princess with Wine Bottle and Cup (recto); Persian Verses (verso) https://clevelandart.org/art/1947.496

Bowl

Bowl https://clevelandart.org/art/1985.20

In this intense painting, Bahram Gur plunges his sword into the chest of a dragon. A favorite character from Iran's pre-Islamic history, Bahram Gur (r. 420–38) was a popular ruler of the Sasanian dynasty and a great hunter. He took the name "Gur," meaning onager (a wild ass), because it was his preferred game, although he also excelled at killing dragons. As seen in this illustration's rock formations, tree trunk, and dragon, Iranian painting in the Mongol period borrowed numerous stylistic and spatial elements from Chinese models. With the surging landscape and writhing dragon rendered with equal energy, this is a picture of extraordinary unity and concentration.

Bahram Gur Arrives at the House of a Merchant, text page (recto), from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), known as the Great Mongol Shahnama https://clevelandart.org/art/1943.658.a

Flask

Flask https://clevelandart.org/art/1915.552

The Reign of Nushirwan, The Combat between the Khan of Chin and the Haitalians (recto) from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025)

The Reign of Nushirwan, The Combat between the Khan of Chin and the Haitalians (recto) from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025) https://clevelandart.org/art/1944.480.2.a

Because of its connection with the Koran, calligraphy was elevated above all other art forms in the Islamic world. From an awkward and nearly illegible form of writing, Arabic script was transformed during the 600s and 700s to make it worthy of recording the Divine word. By the 800s, Muslim scribes were producing copies of the Koran that were true calligraphic masterpieces. This Koran, written entirely in gold, exemplifies the angular form of writing known as Kufic at its majestic best. The text on the right page is the opening of the Chapter of the Star (53: 1-21), which begins: By the star when it plunges, your comrade is not astray, neither errs, nor speaks he out of caprice. This is naught but a revelation revealed, taught him by one terrible in power, very strong...

Qur'an Manuscript Folio (recto; verso); Left side of Bifolio https://clevelandart.org/art/1993.39.2

The design of a flying phoenix on the rim was frequently represented on vessels and tilework of this period. The motif was derived from China, most likely transmitted on prestigious silk textiles.

Ceramic dish with deer, phoenix, and lotus blossoms https://clevelandart.org/art/1924.742

Bowl

Bowl https://clevelandart.org/art/1915.587

Khar (Ass), from a Nuzhat-nama-yi ala'i (Excellent Book of Counsel) of Shahmardan ibn Abi al-khayrr

Khar (Ass), from a Nuzhat-nama-yi ala'i (Excellent Book of Counsel) of Shahmardan ibn Abi al-khayrr https://clevelandart.org/art/1947.498.b

Arabic calligraphy, the art of beautiful writing, was elevated above all other art forms in the Islamic world because Allah, or God, revealed the divine word of Islam to the Prophet Muhammad (570–632) in the Arabic language. This Koran page is considered one of the most splendid examples of Arabic calligraphy. Based on the proportions of Arabic letters, majestic eastern Kufic script features attenuated letters with long upstrokes and low strokes swaying to the left. Contours echoing the letters separate the sacred text from the lively arabesque background. This vertical layout on paper replaces the earlier horizontal format on parchment.

Leaf from a Koran https://clevelandart.org/art/1939.507

Images of courtly pleasures decorate medallions, and bands display an enthroned prince, a banquet, a hunt, dancers, and musicians. The silver inlay, which is best preserved on the tray’s inner curve, suggests its original brilliance.

Tray Portraying Courtly Pleasures https://clevelandart.org/art/1945.386

The Iranian tendency to create conceptual space, symmetry, and decoration characterize this painting illustrating a scene in the life of the Shi’a Imam Ali, son-in-law of the Prophet Muhammad. The inscription over the door reads "the just sultan."

"Nushirwan Sends Mihran Sitad to Fetch the Daughter of the King of China" in the manuscript of Shahnama of Firdawsi Illustration and Text (Persian Verses) (Recto) https://clevelandart.org/art/1962.25.a

Bahram Chubineh captured by Khusrau Parviz (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025)

Bahram Chubineh captured by Khusrau Parviz (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025) https://clevelandart.org/art/1944.480.1.b

Text Page, Persian Verses (recto) from the Shahnama of Firdawsi

Text Page, Persian Verses (recto) from the Shahnama of Firdawsi https://clevelandart.org/art/1945.387.a

These vessels have the shape of glass lamps intended for mosques and tombs, but since they are opaque and could have emitted no light, their function was purely decorative.

Mosque Lamp https://clevelandart.org/art/1944.236

In this dynamic large-format painting, Bahram Gur plunges his sword into the breast of a dragon. Iranian painting during the Mongol period borrowed stylistic and spatial elements from Chinese models, such as the rock formations, tree trunk, and dragon. The surging landscape and writhing dragon create a painting of extraordinary vitality and unity. Bahram Gur (ruled ad 420-438) was a popular king from pre-Islamic Sasanian Iran and a great hunter. He took the name "Gur," meaning onager (a wild ass), because it was his preferred game-although he also excelled at killing dragons.

Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), known as the Great Mongol Shahnama https://clevelandart.org/art/1943.658.b

Page from a Koran (recto)

Page from a Koran (recto) https://clevelandart.org/art/1933.488.a

Because of its connection with the Koran, calligraphy was elevated above all other art forms in the Islamic world. From an awkward and nearly illegible form of writing, Arabic script was transformed during the 600s and 700s to make it worthy of recording the Divine word. By the 800s, Muslim scribes were producing copies of the Koran that were true calligraphic masterpieces. This Koran, written entirely in gold, exemplifies the angular form of writing known as Kufic at its majestic best. The text on the right page is the opening of the Chapter of the Star (53:1–21), which begins: “By the star when it plunges, your comrade is not astray, neither errs, nor speaks he out of caprice. This is naught but a revelation revealed, taught him by one terrible in power, very strong. . . . ”

Qur'an Manuscript Folio (verso); Left side of Bifolio https://clevelandart.org/art/1993.39.2.b

This small illustration of ringdoves incorporates the influence of Chinese naturalism in the drawing of the tree trunk and lotus blossom. In contrast, the reverse side is more traditional. The innovative page layouts feature cursive <em>nashki</em> script with bold angular <em>kufic</em> script headings. Derived from Aristotelian sources, this treatise deals with the physical characteristics and organs of animals. The text was translated into Persian from Arabic for the Ilkhanid ruler Ghazan Khan (reigned 1295–1304). Roughly a dozen pages from this long-lost manuscript are known. It is dated by comparison with a similar manuscript made at Maragha, near Tabriz, in 1297 or 1299.

Qualities of Ringdoves (recto); On the Benefits of Quails (verso), from a Manafi' al-Hayawan (On the Usefulness of Animals) of Ibn Bakhtishu' (d. 1058) https://clevelandart.org/art/1945.382

Bowl

Bowl https://clevelandart.org/art/1915.594

The carved surface with raised outlines allowed glazes of different colors to be side-by-side without running together when fired.

Dish with Falcon Attacking a Water Bird https://clevelandart.org/art/1938.7