CMA: Islamic Art

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

Illuminated Folio (verso) from a Gulistan (Rose Garden) of Sa'di (c. 1213-1291)

Illuminated Folio (verso) from a Gulistan (Rose Garden) of Sa'di (c. 1213-1291) https://clevelandart.org/art/2006.148.b

A prince from Iran’s early legendary history, Siyavush was sent by his father, the shah, to train under the great warrior Rustam in the arts of hunting, archery, and horseback riding. In this painting, Siyavush demonstrates his considerable skill by hitting the bulls eye on a rolling target from horseback. The gold sky, pastel ground with grassy tufts, and dense leafy riverbank are distinctive features of Persian painting during this period.

Siyavush on his Horse Hitting a Rolling Target (recto) and Persian verses (verso) from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025) https://clevelandart.org/art/1942.871

Under Shah Abbas, the tradition in which painting was employed to illustrate a literary work was all but abandoned. In its place came a new concern with single-page illustrations, such as this one, which have no specirfic content or meaning. They often illustrate albums of collections of verses about love and beauty, in which these themes often appear to serve as allegories of things divine.

Persian Couplets (recto), Calligraphy, Persian Verses; Single Page Manuscript https://clevelandart.org/art/1944.494.a

Pottery with plant designs painted in black and under a clear or turquoise glaze was produced from about 1460 until 1700. Typically these vessels have a soft and porous white clay body with a thin glassy glaze that is apt to crackle. Characteristic of later production, the design on this dish is freely and vigorously drawn. Because many of these vessels were found in peasant houses in the town of Kubacha in Caucasus, the name "Kubachi" ware was given to the entire group.

Dish https://clevelandart.org/art/1915.595

This unfinished painting—the left side of a double- page composition—shows a group of musicians on the far side of a stream and figures trying to gain entry to the royal encampment on the near side. Below, a cook prepares meat on a brazier while a servant holds a stick of kabobs over a dish. One man has fallen to the ground, probably intoxicated.<br>One of the most famed painters from the Timurid court, Bihzad is known for his carefully balanced compositions and precise draftsmanship, and other artists emulated his style. After his death his works were regarded as the exemplars of Persian painting, both in Iran and in Mughal India, whose emperors collected his work.

Folio from an Album with Musicians and Servants Outside a Royal Encampment (recto) and Calligraphy, Persian Verses (verso) https://clevelandart.org/art/1944.490

"The Forty-Eighth Year of Nushirwan's Reign. The Combat of the Khaqan of China with the Haithalians in the manuscript of Shahnama of Firdawsi.

"The Forty-Eighth Year of Nushirwan's Reign. The Combat of the Khaqan of China with the Haithalians in the manuscript of Shahnama of Firdawsi. https://clevelandart.org/art/1962.25.b

Preface, verso of the left folio from a double-page frontispiece of a Shahnama of Firdausi (940-1019 or 1025)

Preface, verso of the left folio from a double-page frontispiece of a Shahnama of Firdausi (940-1019 or 1025) https://clevelandart.org/art/1956.10.b

This bowl with white slip designs on gray slip grounds, was made after the Mongol conquest of Iran in the 13th century and show Chinese influence in its flat rim.

Bowl with Flying Birds https://clevelandart.org/art/1915.589

Bottle

Bottle https://clevelandart.org/art/1951.291

Jug

Jug https://clevelandart.org/art/1915.584

Two powerful lions appear to guard the central hitching ledge to which travelers and merchants could secure their horses and other animals, possibly at a caravanserai, predecessor of the modern motel, located along trade routes such as the Silk Road. Animals and human figures are often represented in art made in Islamic countries, but they are not portrayed on items associated with the Muslim faith -- the Koran, mosques, and prayer rugs.

Hitching Post https://clevelandart.org/art/1944.481