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CMA: Islamic Art

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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 · 6h

Bowl https://clevelandart.org/art/1915.591

Sultanabad wares were the first new type of pottery made in Iran after the Mongol conquest. These underglaze painted wares are characterized by a somber color scheme of gray, black, and white. The name "Sultanabad" comes from the modern city near which they were first discovered. This type of pottery was widely exported, perhaps even imitated, for it has been excavated over a vast area from central Asia to Egypt.

CMA: Islamic Art @cmaislamic.bsky.social · 7h

Mosque Lamp https://clevelandart.org/art/1981.10

The inscription on the neck of this lamp reproduces the celebrated Verse of Light from the Koran (24:35), which likens divine light to a shining glass lamp. The inscription on the body of this lamp records that it was produced for a theological school founded about 1315, and gives the titles of the sultan Muhammad ibn Qala'un, who ruled the Mamluk kingdom on three occasions between 1293 and 1340.

CMA: Islamic Art @cmaislamic.bsky.social · 11h

Text Page, Persian Verses (Recto); Portrait of Nushirwan the Just (Verso) https://clevelandart.org/art/1959.330

Mongol interest in the production of illustrated manuscripts eventually 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. 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.

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CMA: Islamic Art @cmaislamic.bsky.social · 14h

Figure Lassoing a Horse Illustrated Page from an Unidentified Manuscript (recto) https://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!"

CMA: Islamic Art @cmaislamic.bsky.social · 1d

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 · 1d

Bowl https://clevelandart.org/art/1939.214

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CMA: Islamic Art @cmaislamic.bsky.social · 1d

Black and White Bird Perched on a Shrub https://clevelandart.org/art/1971.84

In Iran between the 1630s and 1650s, the court painter Shafi’ ‘Abbasi, son of the renowned painter Riza ‘Abbasi, specialized in a new fashion depicting naturalistic plants and birds, some adapted from European sources such as botanical engravings or herbals. Several have been identified as patterns for textiles, evidenced by pricked holes along the contours, which allowed designs to be transferred to another surface. The inscription indicates that Shafi’ ‘Abbasi made this painting for Shah Abbas II in 1651-52. Presumably, he copied this composition from a European engraving.

CMA: Islamic Art @cmaislamic.bsky.social · 1d

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

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

The Tale of the Twelve Faces. "The Warriors Engage in Combat": Illustration from the Firdausi Shahnama (verso) https://clevelandart.org/art/1944.479.b

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

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

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

Bowl with Geometric Designs https://clevelandart.org/art/1945.133

This inlaid bowl has interlacing geometric designs in 12 arched panels that radiate from a star on the base. A pinwheel of six fish is engraved in the interior. Scholars recently reattributed them to Islamic manufacture, possibly for export to Europe.

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

Pen and Ink Box https://clevelandart.org/art/1940.689

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

Bowl https://clevelandart.org/art/1915.585

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

Mosque Lamp https://clevelandart.org/art/1944.287

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.

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

Bowl with Griffin https://clevelandart.org/art/1925.1182

Animated animals such as this griffin and robust palmette scrolls characterize the bold designs that often appear on dark manganese backgrounds in Garrus ware.

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

Qur'an Manuscript Folio (verso) https://clevelandart.org/art/1933.494.b

This page features the last eight verses of the Sura al-Sad (named for the arabic letter sad) and the opening verses of the Sura al-Zumar (the Companies); the latter begins:

The sending down of the Book is from God the All-mighty,
the All-wise. We have sent down to thee the Book with the
truth; so worship God, making thy religion His sincerely.

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

Princess with Wine Bottle and Cup https://clevelandart.org/art/1947.496.a

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

Bowl https://clevelandart.org/art/1915.303

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

Page from a Koran (verso) https://clevelandart.org/art/1993.39.1.b

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...

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

Rustam meets the challenge of Ashkabus, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020) https://clevelandart.org/art/1960.199.b

Iran was losing a battle against Turan and the armies of its assembled allies from India and China. The hero Rustam arrived to pull the Iranian army back from the brink of destruction, slaying the enemy warrior Ashkabus on foot while allowing his horse Rakhsh to rest after a long, hard journey. The vast number of armies involved in the battle is indicated by the many banners that extend beyond the illustration’s top border. This painting was probably produced at Shiraz, one of Iran’s major cultural centers, far to the south of the Safavid capital of Tabriz. Artists and works of art moved back and forth steadily between Shiraz and the Deccan in southwestern India during the 1500s and 1600s.

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

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

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

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 · 5d

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.

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

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. https://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.

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

Yusuf and Zulaykha (Recto); Illustration and Text (Persian Verses) in an Anthology with some verses from Haft Awrang (Seven Thrones) of Jami; The Fifth Throne https://clevelandart.org/art/1947.501.a