iiinova — where your digital self keeps evolving

CMA: Islamic Art @cmaislamic.bsky.social · 18h

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

CMA: Islamic Art @cmaislamic.bsky.social · 20h

Tughra: Shah Muhammad bin Ibrahim Khan, al-muzaffar daima (Sultan Mehmed, son of Ibrahim Khan, the eternally victorious; Calligraphy (Ottoman Turkish Signature), Single Page Manuscript clevelandart.org/art/1944.525

A tughra is a formalized ornate signature or monogram at the top of a royal edict. This tughra has been cut off from the vertical scroll on which a proclamation of the Ottoman Sultan Mehmed IV was written. Mehmed IV ruled during a time when the empire began to decline in power due to internal rivalries and the catastrophic military defeat at the Battle of Vienna in 1683.

In bold gold lettering, “Mehmed, son of Ibrahim Khan, the Eternally Victorious” has been calligraphed in Turkish. These words form the structure of the design, which has been filled with colors, floral patterns, and topped with an architectural crown. A foliated sunburst in turquoise, gold, and silver augments the luxury of the monogram.

040

CMA: Islamic Art @cmaislamic.bsky.social · 10/10/2026

Text Page, Persian Verses (Verso) in an Anthology with some verses from Haft Awrang (Seven Thrones) of Jami; The Fifth Throne Yusuf and Zulaykha clevelandart.org/art/1947.501.b

The Khamsa, a suite of five poems (khamsa is Arabic for five) written in the twelfth century, was, like the earlier Shahnama, concerned with the history and legends of pre-Islamic Iran. But Nizami's interest was with love rather than war. In this, the second of the poems, he tells the story of these two famous star-crossed lovers. It is difficult to assign the illustrations here to specific episodes, but they may be concerned with Khusro's stay at the court of Shirin's aunt, the Queen of Azarbaijan.
Shirn serves pomegranates to Khusro.

000

CMA: Islamic Art @cmaislamic.bsky.social · 10/10/2026

"Benefits of the Parts of Vultures" (From the Manafi' al-Haywan of Abu Sai'd Ubayd-Allay Ibn Bakhtishu) (recto) clevelandart.org/art/2006.149.a

000

CMA: Islamic Art @cmaislamic.bsky.social · 10/10/2026

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

010

CMA: Islamic Art @cmaislamic.bsky.social · 09/10/2026

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

030

CMA: Islamic Art @cmaislamic.bsky.social · 08/10/2026

Persian verses (verso) from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025) clevelandart.org/art/1942.871.b

000

CMA: Islamic Art @cmaislamic.bsky.social · 08/10/2026

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 clevelandart.org/art/1943.658.a

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.

000

CMA: Islamic Art @cmaislamic.bsky.social · 07/10/2026

Royal Feast in a Garden, verso of right folio from the double-page frontispiece of a Shah-nama of Firdausi (Persian, about 934–1020) clevelandart.org/art/1945.169.b

The painting on the verso of this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama</em> (Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.<br><br>As though setting the scene for royal stories and activities, these two opening pages of Iran’s national epic present a luxurious gathering in an idyllic outdoor setting. Groups of nobles and international diplomats have come bearing gifts, including costly vessels and hunting animals. <br><br>At the upper right, seemingly uninterested in the emissaries and gifts, a prince kneels with six royal women under an open tent. He pulls one of them toward him, apparently to coax her to drink a cup of wine. At the bottom a musician plays a harp that has been mounted over a stream, painted with now tarnished silver paint. Drama and intrigue seem to be brewing, given the knowing glances and whispers between figures.

000

CMA: Islamic Art @cmaislamic.bsky.social · 07/10/2026

King Luhrasp Ascends the Throne: A Processon Arrives at Court (Recto); The Story of King Luhrasp (Verso) clevelandart.org/art/1962.24

This scene of a procession arriving at court was surely completed by the court scene itself. The subject of the frontispiece had nothing to do with the text that it accompanied, and the text has not been identified.

021

CMA: Islamic Art @cmaislamic.bsky.social · 05/10/2026

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 clevelandart.org/art/1943.658

In this intense painting, Bahram Gur plunges his sword into the breast of a dragon. A favorite character from Iran's pre-Islamic history, Bahram Gur (reigned 420–38) was a popular ruler of the Sassanian dynasty and a great hunter. He took the name "Gur," meaning <em>onager </em>(a wild ass), because it was his preferred game, although he also excelled at killing dragons. As evidenced by 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.

000

CMA: Islamic Art @cmaislamic.bsky.social · 04/10/2026

Text Page, Persian Verses (recto); Bahram Gur meets Arzu, the Daughter of Mahiyar (verso) clevelandart.org/art/1945.387

010

CMA: Islamic Art @cmaislamic.bsky.social · 04/10/2026

Figure Lassoing a Horse Illustrated Page from an Unidentified Manuscript (recto) clevelandart.org/art/1971.305.a

The handsome youth lassoing the feisty colt in this painting is Rustam, the <em>Shahnama</em>'s most popular hero. A favorite episode for artists, this event marks a turning point in the fortunes of Iran and offers the artist a wonderful pictorial opportunity. It occurs in a time of trouble for Iran—the throne is empty and a foreign army has invaded the land. The country needs a mighty warrior to fight for her, and the young Rustam is ready for the challenge—once he finds a horse that can bear his enormous weight! The herds are gathered for Rustam's inspection: a piebald bay colt catches his eye. For three years no one has been able to capture the colt, known as "Rustam's Rakhsh." Rustam asks what price the herdsman wants for him. The reply: "If you are a true Rustam—a true 'deliverer'—mount him and make the land of Iran aright. The cost of Rakhsh is the soil of Iran and the deliverance of the world!"

060

CMA: Islamic Art @cmaislamic.bsky.social · 04/10/2026

Page from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020) clevelandart.org/art/1960.199.a

This section of the Shah-nama is famous for the clever conversational repartee between Rustam and his opponent Ashkabus. When Ashkabus remarked that in choosing not to ride a horse Rustam had signed his own death warrant, Rustam retorted, “Would it be the case then that in your country . . . lions, tigers, and crocodiles [all] ride on horses to battle?” Rustam then brought down the horse of Ashkabus with a single arrow; his next arrow pierced Ashkabus in the chest.

000

CMA: Islamic Art @cmaislamic.bsky.social · 03/10/2026

"Benefits of the Parts of Vultures" (From the Manafi' al-Haywan of Abu Sai'd Ubayd-Allay Ibn Bakhtishu) (verso) clevelandart.org/art/2006.149.b

000

CMA: Islamic Art @cmaislamic.bsky.social · 03/10/2026

Text Page, Persian Verses (Recto); The Fortieth Year of King Kisra Nushirwan's Reign. The Story of Buzrgmihr. "Kisra Nushirwan questions Buzurghmihr" in the manuscript of Shahnama of Firdawsi. clevelandart.org/art/1959.330.a

Mongol interest in the production of illustrated manuscripts evenutally focused on Persian epic poetry. The Shahnama, a compilation of the epics and tales of Iran's legendary heroes, was a natural choice; the book included many subjects that suited Mongol taste, such as banquets, battles, hunting, and magical or fantastic events. Seated on the throne in the center of the painting is the Sasanian ruler of Iran, Khusraw I Anushirwan (531–579), descendant of Bahram Gur (seen killing a dragon in CMA 1943.658). Above the king's head an inscription reads, "Picture of Nushirwan the Just." The figure in the elaborate turban to the left of the king is probably the young Minister Buzurgmihr, famous for his wisdom and virtue. To celebrate the explanation of a troublesome dream by Buzurgmihr, Nushirwan held a series of seven banquets. The text around this painting describes the fifth banquet.

000

CMA: Islamic Art @cmaislamic.bsky.social · 02/10/2026

Peacock-shaped Hand Washing Device (recto); Text Page, Arabic Prose (verso) clevelandart.org/art/1945.383

This leaf from a 1315 Syrian copy of Ibn al-Razzāz al-Jazarī’s <em>The Book of Knowledge of Ingenious Mechanical Devices</em>, written in 1206, depicts a peacock basin automaton for ritual hand washing. There are 15 surviving manuscript copies of al-Jazarī’s work, ranging from the early 13th to the late 19th century. An engineer from upper Mesopotamia, al-Jazarī was in the service of King Nasrī al-Dīn when he completed his masterwork, an anthology of automated devices including clocks, trick vessels for drinking sessions, devices for washing, fountains, water-raising machines, and measuring instruments. His designs clearly illustrate that automata were not innovations from Western Europe, but they stemmed from a tradition known in the ancient, Islamic, and Byzantine worlds. We do not know with certainty that al-Jazarī’s device was ever actually constructed.

020

CMA: Islamic Art @cmaislamic.bsky.social · 01/10/2026

Text Page, Persian Prose (recto) from Nuzhat Nama-yi Ala'i (Excellent Book of Counsel) of Shah Mardan Ibn Abi al-Khayr clevelandart.org/art/1947.498.a

000

CMA: Islamic Art @cmaislamic.bsky.social · 29/09/2026

Text Page, Persian Prose (recto) from Nuzhat Nama-yi Ala'i (Excellent Book of Counsel) of Shah Mardan Ibn Abi al-Khayr clevelandart.org/art/1947.498.a

000

CMA: Islamic Art @cmaislamic.bsky.social · 29/09/2026

Bahram Gur meets Arzu, the Daughter of Mahiyar (verso); Illustration and Text, Persian Verses, from the Shahnama of Firdawsi clevelandart.org/art/1945.387.b

012