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

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.

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

Jug

Jug https://clevelandart.org/art/1915.306

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.

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

This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter's hand. He thus reproves Nushirwan for his love of conquest and war and the consequent destruction of many cities.

Nushirwan Listens to the Owls (recto): The Story of Nushirwan and his Minister "The Third Discourse on Diverse Events and Disorder in Life" (verso) https://clevelandart.org/art/1944.487

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.

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

Known as the Wade Cup, after J. H. Wade who bequeathed the funds for its acquisition, this bowl is the best known Islamic art object in the Museum. The rich silver decoration on the exterior of the Iranian bowl is organized into bands and compartments. Climaxing the decorative program is a rare inscription band around the rim with letters formed by human figures, animals, and birds. The band of animated script around the rim of the cup extends good wishes to the owner. It is translated as "Glory, and success, and government, and bliss, and soundness, and peace of mind, and mercy, and well-being, good health, and duration, and increase, and satisfaction, and care, and continuance to itsowner." Arabic is written from right to left. The compartments created by the interlacing bands contain tiny figures of humans and animals. These represent the 12 signs of the zodiac whose signs spring from astrology-the practice of interpreting the influence of planets and stars on earthly affairs.

The Wade Cup with Animated Script https://clevelandart.org/art/1944.485

Arabic calligraphy, the supreme art form in the Islamic world, enhances this tombstone. The elegant Arabic script embellished with leaf tendrils at the top of the tall letters is called floriated Kufic. Verses about paradise from the holy Koran border the central arch-shaped niche that resembles a mosque's mihrab, located in the wall closest to the holy city of Mecca. The name of the deceased and the year of his death are recorded within the niche above the names of the carvers: "The work of Abaidallah Murra(?) and 'Umar(?)." The inscriptions from the Koran translate as follows: Outer border (read from right to left): "In the name of God, the Merciful, the Compassionate. Every soul shall taste of death; and ye shall only receive your recompenses on the Day of Resurrection. And who so shall escape the fire, and be brought into Paradise, shall be happy And the life [of this world is but a cheating fruition]" (3:185). Inner border: "In the name of God, the Merciful, the Compassionate. But as for those who say, 'Our Lord is God'; and who go straight to Him, the Angels shall descend to them and say 'Fear ye not, neither be ye grieved, but rejoice ye in the Paradise which ye have been [promised]'" (41:30).

Inscribed Tombstone of Shaikh al-Husain ibn
Abdallah ibn al-Hasan (died 1110) https://clevelandart.org/art/1950.9

Qur'an Manuscript Folio (verso)

Qur'an Manuscript Folio (verso) https://clevelandart.org/art/1933.481.b

Bahram Gur meets Arzu, the Daughter of Mahiyar (verso); Illustration and Text, Persian Verses, from the Shahnama of Firdawsi

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

Pen and Ink Box

Pen and Ink Box https://clevelandart.org/art/1942.854

Qur'an Manuscript Folio. Left Folio of a Bifolio (verso)

Qur'an Manuscript Folio. Left Folio of a Bifolio (verso) https://clevelandart.org/art/1933.473.2.b

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.

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

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.

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

This architectural relief shows a lion attacking a bull surrounded by other predators pursuing their prey, with scrolling vegetal motifs filling the spaces between. Scenes of powerful predators in the act of hunting and capturing other animals echo the royal imagery of pre-Islamic Iran.<br><br>This piece was part of a balustrade in a private home; the owner and construction date are known from another fragment from the same building. The building was embellished when the Mongols controlled Iran, and the relief shows a continuity in style from carvings made during the preceding Turkic Seljuk period (1037–1194). Under Turkic and Mongol rule in Iran, Islamic injunctions against making figural imagery were loosened.

Balustrade Fragment with Animals https://clevelandart.org/art/1938.15

Bowl

Bowl https://clevelandart.org/art/1938.8

The Tale of the Twelve Faces. "Bizhan Addresses the Army": Illustration from the Firdausi Shahnama (recto)

The Tale of the Twelve Faces. "Bizhan Addresses the Army": Illustration from the Firdausi Shahnama (recto) https://clevelandart.org/art/1944.479.a

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

This Koran folio was written in the oldest style of Arabic calligraphy, called Kufic script, used in the earliest surviving copies of the Koran. The wide format of the page is well suited to this style of Kufic that has elongated, horizontal strokes. Vowels are indicated by red dots, and the triangles of gold dots mark the end of each verse.<br><br>In the verses on this page, God casts Lucifer out of heaven as punishment for his pride.

Qur'an Manuscript Folio (verso) https://clevelandart.org/art/1933.493.b

The lavish silver inlaid surface features a wide band displaying medallions with scenes of court and daily life and an inscription band on the shoulder, written in plaited and animated kufic (angular) script, extending good fortune, generosity, and charitable giving to the owner. This celebrated ewer is dated 1223 and signed by the master craftsman Ahmad al-Dhaki of Mosul.

Luxury Ewer Extending Good Fortune to the Owner https://clevelandart.org/art/1956.11

"Benefits of the Parts of Vultures" (From the Manafi' al-Haywan of Abu Sai'd Ubayd-Allay Ibn Bakhtishu) (recto)

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

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.

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

One popular method of covering large wall sections with ceramic decoration was to combine star-shaped tiles with cross-shaped tiles.

Wall Tile with Lotus Blossom https://clevelandart.org/art/1915.645

The Tale of the Twelve Faces. "Bizhan Addresses the Army": Illustration from the Firdausi Shahnama (recto); The Tale of the Twelve Faces. "The Warriors Engage in Combat": Illustration from the Firdausi Shahnama (verso)

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

Begun at the end of the reign of Shah Ismail (reigned 1501–24), first king of the Safavid dynasty of Iran, this copy of the Shah-nama (Book of Kings) was completed during the reign of his son Shah Tahmasp. Unparalleled in scope and refinement, the book included 259 paintings by master artists in the royal workshop. Two calligraphers copied the text in an elegant, flowing nasta‘liq script. In 1568, Shah Tahmasp gave this book as a gift to the Ottoman sultan Selim II of Turkey.

Page from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934-1020) https://clevelandart.org/art/1988.96.b

The text, from Sura al-Nissa (Women), chapter 4:157–58 gives the Islamic view of the crucifixion of Christ. 157: And for their saying, "We have killed the Messiah, Jesus, the son of Mary, the Messenger of God." In fact, they did not kill him, nor did they crucify him, but it appeared to them as if they did. Indeed, those who differ about him are in doubt about it. They have no knowledge of it, except the following of assumptions. Certainly, they did not kill him. 158: Rather, God raised him up to Himself. God is Mighty and Wise.

Page from a Koran, Sura al-Nisa 4, Verses 157–158 https://clevelandart.org/art/1939.507.a

Plate

Plate https://clevelandart.org/art/1915.590

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.

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

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.

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

This famous object is renowned for its distinctive shape and intense enamel colors forming striking star and leaf patterns. It was considered unique until recently when another appeared which tested as "modern." This example can be traced back to 1913, well after 19th-century imitations were made in Europe. Although glass scholars consider the museum's object authentic, it is also being tested.

Ceremonial Spittoon or Basin https://clevelandart.org/art/1944.235