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CMA: Islamic Art

@cmaislamic.bsky.social

Sharing public domain works from the Islamic Art department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Islamic Art @cmaislamic.bsky.social · 10h ago

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

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.

CMA: Islamic Art @cmaislamic.bsky.social · 12h ago

Persian Quatrains (Rubayi) and Calligraphic Exercises https://clevelandart.org/art/1983.1115.a

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.

CMA: Islamic Art @cmaislamic.bsky.social · 16h ago

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

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

Royal Feast in a Garden, left folio from the double-page frontispiece of a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025) https://clevelandart.org/art/1956.10

The painting on the verso of this folio is the first half of a double-page frontispiece now detached from a Shahnama (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. From the upper left two trained cheetahs, a falcon, and horses are led into the scene. Drama and intrigue seem to be brewing, given the knowing glances and whispers between figures and the four men being driven away by a guard at the lower left.

CMA: Islamic Art @cmaislamic.bsky.social · yesterday

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

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.

CMA: Islamic Art @cmaislamic.bsky.social · yesterday

Bowl https://clevelandart.org/art/1944.483

CMA: Islamic Art @cmaislamic.bsky.social · 2d ago

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 https://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.

CMA: Islamic Art @cmaislamic.bsky.social · 2d ago

The Story of Adam, peace upon him, his Sons and Progeny, from a Jami al-tavarikh (Compendium of Chronicles) of Rashid al-din https://clevelandart.org/art/1945.384.b

These two pages are from a manuscript that evidently was written and illustrated for the library (at Herat) of the Timurid king Shah Rukh, the son of Timur (Tamerlane). The Majma' al-Tawarikh traced the history of the world, beginning with the prophets of the Old Testament until the reign of Shah Rukh.

CMA: Islamic Art @cmaislamic.bsky.social · 2d ago

Qur'an Manuscript Folio (recto) [Right side of Bifolio] https://clevelandart.org/art/1933.473.1.a

CMA: Islamic Art @cmaislamic.bsky.social · 3d ago

Luxury Inlaid Container https://clevelandart.org/art/1944.482

Silver and gold inlay transforms this brass box into a luxury container. Courtiers, birds, and fretwork form the decoration while inscriptions extend good wishes. On the body it reads: "Brilliance, and nobility, and patience, and modesty, and glory, and long life, and piety, and patience."

CMA: Islamic Art @cmaislamic.bsky.social · 3d ago

Qur'an Manuscript Folio https://clevelandart.org/art/1993.39

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. . . . ”

CMA: Islamic Art @cmaislamic.bsky.social · 3d ago

Inscription Plaque, Possibly from a Door https://clevelandart.org/art/1994.1

This finely pierced steel plaque is said to have adorned the royal tomb of Shah Suleyman II (reigned 1666-93). The Qur’anic inscription reads: "Verily, God and His Angels send blessings on the Prophet" (33:56). Metalworkers exploited the steel’s tensile strength to its highest artistic possibilities.

CMA: Islamic Art @cmaislamic.bsky.social · 3d ago

Incense Burner https://clevelandart.org/art/1937.26

CMA: Islamic Art @cmaislamic.bsky.social · 4d ago

Folio from a Koran https://clevelandart.org/art/1933.488

CMA: Islamic Art @cmaislamic.bsky.social · 4d ago

Miniature Vase https://clevelandart.org/art/1961.379

CMA: Islamic Art @cmaislamic.bsky.social · 4d ago

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

CMA: Islamic Art @cmaislamic.bsky.social · 4d ago

Vase https://clevelandart.org/art/1915.546

CMA: Islamic Art @cmaislamic.bsky.social · 5d ago

Peacock-shaped Hand Washing Device: Illustration from The Book of Knowledge of Ingenious Mechanical Devices (Automata) of Inb al-Razza al-Jazari https://clevelandart.org/art/1945.383.a

The Arabic title of this work is Kitab fi ma'rifat al-hiyal al handasiyya (The Book of Knowledge of Ingenious Mechanical Devices). According to the description of the device illustrated here, the peacock is filled with water: as it flows into the vessel below, it raises a float that opens a door in the section above, causing the little figure to move forward offering soap; as more water flows, a second door will open and another figure will move forward offering a towel. Finally, the dirty water is drawn off by means of a spigot.

CMA: Islamic Art @cmaislamic.bsky.social · 5d ago

Albarello Jar https://clevelandart.org/art/1940.968

CMA: Islamic Art @cmaislamic.bsky.social · 5d ago

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

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.

CMA: Islamic Art @cmaislamic.bsky.social · 6d ago

Text Page, Arabic Prose (verso) Text from The Book of Knowledge of Ingenious Mechanical Devices (Automata) of Inb al-Razza al-Jazari https://clevelandart.org/art/1945.383.b

The Arabic title of this work is <em>Kitab fi ma'rifat al-hiyal al handasiyya</em> (The Book of Knowledge of Ingenious Mechanical Devices). According to the description of the device illustrated here, the peacock is filled with water: as it flows into the vessel below, it raises a float that opens a door in the section above, causing the little figure to move forward offering soap; as more water flows, a second door will open and another figure will move forward offering a towel. Finally, the dirty water is drawn off by means of a spigot.

CMA: Islamic Art @cmaislamic.bsky.social · 6d ago

Candlestick https://clevelandart.org/art/1951.539

The extensive decoration is arranged in bands with roundels displaying birds in flight and foliate scrolls on a background of hexagonal swastikas. These ancient motifs are thought to have been sun symbols.

CMA: Islamic Art @cmaislamic.bsky.social · 6d ago

Four Human Figures around a Horse and Cheetah https://clevelandart.org/art/1959.249

This splendid bowl features four figures surrounded by animals, birds, and angular script (possibly extending baraka, blessing). The central horse with a cheetah on his back suggests an imperial hunt.

CMA: Islamic Art @cmaislamic.bsky.social · 6d ago

Jug with Running Animals https://clevelandart.org/art/1947.495

"Silhouette" ware continues the tradition of painting with slip (liquefied clay) directly on the white body beneath the glaze. On this jug, thick black slip was applied and then carved with a knife to create the design of running animals and pseudo-script.

CMA: Islamic Art @cmaislamic.bsky.social · 7d ago

Qur'an Manuscript Folio (recto?) https://clevelandart.org/art/1933.482.a

CMA: Islamic Art @cmaislamic.bsky.social · 7d ago

Qur'an Manuscript Folio https://clevelandart.org/art/1933.483.a

CMA: Islamic Art @cmaislamic.bsky.social · 7d ago

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

CMA: Islamic Art @cmaislamic.bsky.social · last wk.

Rustam's seventh course: He kills the White Div, folio 124 from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020) https://clevelandart.org/art/1988.96

This spectacular painting, both lyrical and fierce, comes from one of the greatest Iranian manuscripts ever produced. The royal copy of the national Iranian epic, the Shahnama, or Book of Kings, was made for Shah Tahmasp during the 1520s and 1540s. The book was even acclaimed in its own day for "the coloring and the portraiture" found in its 258 paintings. The lengendary hero Rustam, identified by his tiger-skin clothing, kills the savage chief of the demons, the White Div, in an immense cave, as other demons watch from above. Completing this last of seven trials, Rustam uses the White Div's blood to cure the Iranian king Kay Kavus of his blindness. The painting is set in a spectacular spring landscape with blossoming trees and brilliantly colored rocks that bend like spectators: They wrestled, tearing out each other's flesh, Till all the ground was puddled with their blood... [Rustam] reached out, clutched the Div, raised him neck-high, And dashed the life-breath from him on the ground, Then with a dagger stabbed him to the heart And plucked the liver from his swarthy form: The carcass filled the cave, and all the world Was like a sea of blood...

CMA: Islamic Art @cmaislamic.bsky.social · last wk.

Button https://clevelandart.org/art/1948.21.2

CMA: Islamic Art @cmaislamic.bsky.social · last wk.

Qur'an Manuscript Folio (verso); Text Page https://clevelandart.org/art/1924.746.2.b

The sending down of the Book is from God the All-mighty, the All-wise. Surah XXXIX: 1-3 The Qur'an is the sacred book of Islam. In the view of orthodox Muslims, it is the literal word of God as revealed to the Prophet Muhammad (d. 632) in the Arabic language, and thus, recorded in the Arabic script. Because of its association with the divine word, Arabic calligraphy came to be a supreme art form in the Islamic world. As the quintessential symbol of the culture, it became a pervasive decorative element in Islamic art and architecture. Although secondary to calligraphy, a splendid tradition of illumination --that is, ornamentation with colors and gold-- developed to enhance the pages of the Qur'an. Because of the prestige associated with the book arts in the Islamic world, the decorative motifs employed by illuminators (scrolling vines, blossoms, lozenges, adn cartouches) found their way into other art forms, for example, metalwork, textiles, and carpets.