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Four of the men on the top of the painting are also riding on horses, while the men directly next to the ruler are accompanying him by foot. The men are making their way through a field of colourful flowers and plants. Dorothea Duda points out that the way in which the ruler has been depicted bears a strong resemblance to known portraits of Sultan Selim I., which gives credence to the theory that this binding was manufactured within the Ottoman empire."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1d1573e2-4d65-5969-9e37-21bbaddc8631.jpg","display_order":2,"alt_text":null,"captions":{"ar":"يعلى الغلاف الخلفي للتجليد نشاهد احتفالًا بلاطيًا. وفي وسط المشهد يجلس حاكم، تشير دوروثيا دودا مرة أخرى إلى أنه قد يكون تصويرًا آخر للسلطان سليم الأول، على عرشه الذهبي. ويحيط به عدد من الرجال يُرجَّح أنهم من أفراد بلاطه. ويجري هذا الاحتفال في فضاء خارجي مشابه للمشهد المصوَّر على الغلاف الأمامي للتجليد.","en":"On the back of the binding we see a courtly festivity taking place. In the centre of the scene a ruler, who Duda once again suggests could be another portrait of Sultan Selim I, sits upon his golden throne. He is surrounded by groups of men who are most likely members of his court. The festivity is taking place in an outdoor setting similar to the one on the front cover of the binding."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2c39c358-57c9-522f-ba7a-25f39b9ecbbf.jpg","display_order":3,"alt_text":null,"captions":{"ar":"يُفتتح هذا الديوان بصفحة افتتاحية تمتد على صفحتين، تُصوِّر مشهد صيد نابضًا بالحركة لشبّان يمتطون الخيل، يرافقهم خدمهم سيرًا على الأقدام. في الصفحة 1b يظهر رجلان مع خدمهما في رحلة صيد داخل مرج أخضر، تعلوه الجبال في الخلفية. ويقفز حصان الشخصية المركزية في لحظة ديناميكية، بينما يقوم فارسه في الوقت نفسه بقتل غزال بسيفه. ويرتدي كلا الرجلين عمائم وملابس مزخرفة بدقة. أمّا الرجل الثاني، فيتميّز بلحية واضحة تشبّهها دوروثيا دودا بلحية السلطان سليمان القانوني. وتشير إضافة هذا البورتريه إلى احتمال أن تكون المخطوطة قد أُنجزت خلال فترة حكم السلطان سليم الأول.","en":"This *divan* opens with a frontispiece spanning over two pages, depicting an energetic hunting scene with young men riding horses accompanied by their walking servants.  \nOn fol. 1b two men and their servants are on a hunt in a green meadow, behind which mountains loom. The horse of the central figure is making a leap whilst simultaneously its rider is slaying a gazelle with his sword. Both of the men are wearing turbans and intricately decorated clothing. The second man has a distinct beard that Dorothea Duda likens to the one Sultan Suleiman the Magnificent had. The inclusion of such a portrait indicates that the manuscript could have been finished during the reign of Sultan Selim I."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e676a631-e259-596e-8fa4-8cc3cc628710.jpg","display_order":4,"alt_text":null,"captions":{"ar":"يعكس مشهد الصيد في الصفحة 2a المشهدَ المصوَّر في الصفحة 1b. يظهر رجلان يمتطيان الخيل في خضمّ الصيد ضمن منظر طبيعي مشابه لذلك الظاهر في الصفحة المقابلة. ويمدّ الرجل الواقع في وسط الصفحة أحد ذراعيه، وقد حطّ صقر عليها، بينما يكون الرجل الثاني في لحظة إطلاق سهم. ويواجه الرجال الأربعة مع خدمهم الأربعة، الموزَّعين على الصفحتين، بعضهم بعضًا. وعند النظر إلى الصفحتين معًا، يبدو وكأن الرجال على وشك الاصطدام ببعضهم البعض بعد لحظات قليلة. وتُؤطَّر كلتا الصفحتين بإطارات مذهَّبة مزخرفة بزخارف نباتية دقيقة وميداليات زرقاء داكنة.","en":"The hunting scene on fol. 2a mirrors the one on fol. 1b. Two men on horses are in the midst of hunting in a similar landscape as the men on the opposite page. The man in the middle of the page has one arm stretched out with a falcon sitting on it. The second man is in the process of shooting an arrow.  \nThe total of four men and four servants across the two pages are facing each other. If the two pages are looked at together it seems as though the men are only moments away from colliding with one another.  \nBoth pages are framed by golden borders with intricate floral decoration and deep blue medaillons."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9a93ef13-6598-51da-9e3e-d936a4e4c157.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 18a يُقام احتفال داخل حديقة. وفي الوسط يجلس أمير شاب يرتدي ملابس برتقالية زاهية على بساط، محاطًا بأفراد بلاطه وخدم يقدّمون له الطعام والشراب. وفي أسفل المنمنمة يظهر أربعة موسيقيين يعزفون على آلاتهم. يجلس الأمير وحاشيته على مرج أخضر داكن مغطّى بالأزهار. وفي خلفية المشهد تنتصب شجرتا سرو طويلتان إلى جانب شجرتين مزهرتين، تتشابك أغصانهما فيما بينهما. وتبرز الألوان الزاهية للأشجار وأزهارها وملابس أفراد البلاط في تباين واضح مع السماء المذهّبة. وتُؤطَّر المنمنمة بهوامش مزخرفة تضم حيوانات خيالية تتجوّل في مناظر طبيعية مليئة بالأزهار والأشجار، وقد نُفِّذت هذه المشاهد باستخدام اللون الذهبي فقط.","en":"On fol. 18a there is a festivity being held in a garden. In the middle a young prince, wearing bright orange clothes, sits on a carpet. He is surrounded by members of his court and servants offering him food and drinks. At the bottom of the miniature four musicians are playing their instruments.  \nThe prince and his courtiers are sitting on a dark green meadow that is covered in flowers. In the background of the scene two cypresses stand tall alongside two blooming trees whose branches are meandering between them. The bright colours of the trees, their flowers and the courtiers are contrasted against the golden sky.  \nThe miniature is framed by marginalia carpeted with fantastical animals roaming a landscape full of flowers and trees. 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ذراعيه على مصراعيهما، كما لو كان على وشك احتضان الشابة. في المقابل، تمد المرأة ذراعًا واحدة فقط نحوه، بينما يلتف ذراعها الأخرى في عباءتها، ربما كإشارة إلى اهتمام خجول. ميلان جسد الشابة ينعكس في شجرة البرتقال على يمينها، مما يبرز حماستها الظاهرة تجاه الشاب. وبالمثل، قام الفنان بتفصيل فروع الشجرة الطويلة بجانب الشاب لتبدو وكأنها تعكس حركة احتضانه. وبذلك، تم استخدام الطبيعة المحيطة بالمشهد بشكل واعٍ لإنشاء علاقات شكلية مباشرة بين البطلين في هذا المشهد. وقد استُخدمت هذه التقنية بذكاء من قبل الرسامين في جميع أنحاء المخطوطة لتسليط الضوء على الديناميكيات بين شخصيات القصة.","en":"Fol. 27a shows the moment in which a young man, laying his eyes upon a young woman, is smitten, falling instantly in love with her. This anecdote is part of the first chapter of the *divan*, the *Tuhfat al-ahrar*.  \nThe scene is set outdoors; the two protagonists stand on a lush, dark green meadow next to a stream in the foreground. The upper half of the illustration is gilded and has green blades of grass drawn onto it, which suggests that this part also refers to the meadow. The young man and the woman face each other. The young man has his arms wide open, as if he is about to embrace the young woman. In contrast, the woman extends only one arm towards him while the other one is wrapped in her cloak, possibly as a gesture of shy interest. The inclination of the young woman’s body is echoed in the orange tree on her right, emphasising her apparent enthusiasm for the young man. Likewise, the artist has also articulated the branches of the tall tree next to the young man to seem as though they are mirroring his embrace. The nature surrounding the scene, therefore, has consciously been used to establish direct formal relations between the protagonists of this scene. This technique is cleverly used by the painters throughout the manuscript in order to highlight the dynamics between the story’s characters."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/78ea0642-ec04-50a5-811d-77260b11cadf.jpg","display_order":2,"alt_text":null,"captions":{"ar":"في الصفحة 191a نرى جزءًا من قصة العاشقين المأساويين ليلى ومجنون. لم يدعم والدَي ليلى علاقة ابنتهما بمجنون، ونتيجة لذلك زوجوها لرجل آخر. يقرر مجنون، بعد أن انكسر قلبه، الانتقال إلى الصحراء ليعيش في عزلة. وفي يوم من الأيام، ترسل ليلى رسولًا ليصل برسالة إلى مجنون، ويتفقان على لقاء. وبسبب معارضة أسرة ليلى وزوجها، يضطران إلى الاجتماع سرًا. تجري أحداث لقائهما السري في مكان مفتوح في الهواء الطلق. التركيز الأساسي يقع على العاشقين أثناء لقائهما في المقدمة. يجثو مجنون على الأرض، ويبدو كما لو كان يسجد أمام محبوبته. تعكس ملابسه ومظهره الجسدي الحياة التي عاشها ناسكًا في الصحراء. في المقابل، تظهر ليلى، وهي ترتدي ثيابًا فاخرة، واقفة. تكشف راحتي يديها الممدودتين نحو مجنون للقارئ أنها تسأله عن مظهره المتغير جذريًا. مرة أخرى، تعمل الأشجار والنباتات المحيطة بالشخصيات على إقامة توازٍ شكلي مع أوضاع الشخصيات، مما يبرز الديناميكيات العاطفية للمشهد. يتم فصل البطلين في المقدمة عن الشخصيات الأخرى في اللوحة من خلال تكوين المناظر الطبيعية. ففي حين يجري لقاء ليلى ومجنون أمام خلفية جبلية، يحدث مشهد آخر في الفضاء التصويري وراء هذا التل، حيث تشير الخيام البعيدة إلى وجود مخيم. هنا، ينشغل رجلان في حديث بينهما. وقد تم ترتيب التكوين بشكل متماثل بحيث تحيط خيمة بهذه المجموعة من الشخصيات، مقلدة ترتيب الشخصيات والنباتات في المشهد الرئيسي في المقدمة.","en":"On fol. 191a we see a part of the story of the two star-crossed lovers Layla and Majnun. Layla’s parents did not support their daughter's relationship with Majnun and consequently married her off to another man. A heart-broken Majnun decides to move to the desert to live in solitude. One day Layla sends out a messenger to deliver a letter to Majnun and they both arrange a meeting. Because of Layla’s disapproving family and her husband, they have to meet up in secret.  \nThe scene of their secret meeting plays out in an outdoor location. The main focus lies on the lovers meeting in the foreground. Majnun is kneeling on the ground, seeming to be prostrating himself in front of his beloved. His clothing and physical appearance reflect the life he has been living as a hermit in the desert. In contrast to Majnun, Layla, richly dressed, is shown standing. Her open palms, raised in Majnun’s direction, reveal to the reader that she is questioning him about his drastically changed appearance. Once again, the trees and plants around the characters establish formal parallels with the figure’s postures emphasizing the emotional dynamics of the scene.  \nThe protagonists in the foreground are divided from the other characters in the painting through the landscape’s composition. While Layla and Manjun’s meeting takes place against a hilly backdrop, another scene is taking place in the pictorial space beyond this hill where distant tents suggest a camp. Here, two men are absorbed in a conversation. The composition is arranged symmetrically so that a tent flanks this group of figures, mimicking the arrangement of the figures and the vegetation in the main scene in the 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of Nizami","backward_compatibility":"mwnf3:objects:EPM:ir:Mus21:24","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"8cce8832-baec-59fe-a3c0-e47ad8d4d6d9","country_id":"irl","owner_reference":"CBL Per 195","mwnf_reference":"IR 24","start_date":1505,"end_date":1555,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/1f8be625-b036-5ba3-ba55-a34c95924eda.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Chester Beatty Library"},{"url":"https://inventory.metanull.eu/pub/a4c90078-f59e-51fd-9d84-460a4f6d808c.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Chester Beatty Library"},{"url":"https://inventory.metanull.eu/pub/e95bb913-3ee7-53bd-8287-91e8c444b321.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Chester Beatty 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Hunting*, folio from *Khusraw and Shirin*","backward_compatibility":"mwnf3:objects:EPM:us:Mus23:36","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"2a23d23f-5624-56f3-828f-3db6b5689a95","country_id":"usa","owner_reference":"69.27","mwnf_reference":"US3 36","start_date":1475,"end_date":1525,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/56ad6b2c-e676-5821-bb01-6217d04b8032.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Metropolitan Museum of 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al-diryaq* (Book of Antidotes)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:21","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 10","mwnf_reference":"AT4 21","start_date":1195,"end_date":1265,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/0f7c93d9-696e-579b-9437-271945e3979d.jpg","display_order":1,"alt_text":null,"captions":{"en":"On fol. 3a, the dedication painting is framed by golden borders around the multi-tiered depiction on a red ground, and can be divided into three horizontal zones. The hunting scene at the top is followed by a larger space encompassing a central square with flanking, towering balconies, and depicted at the bottom is a caravan-like procession. In the central scene, slightly to the left, the ruler, and patron of the manuscript, is emphasised by his height and attributes, such as being in possession of a wine glass and a handkerchief, or *mandil*. He is seated on a low throne furnished with ornate fabrics and cushions, and is wearing elaborate clothes and a high fur-trimmed gilded cap accentuated by a golden halo similar to the other figures surrounding him. Most figures are depicted in three-quarter profile, in keeping with the Seljuq moon-faced ideal of beauty. On the right, a subordinate, potentially a chef, is roasting meat on skewers over an open fire underneath a grate supported by a multi-legged metal base. Behind them, footed trays with fruits, carafes, and flower vases are arranged within the architectural space that is also populated by two sword bearers in the background. The palace architecture with multiple arches and a balcony is made of yellow bricks laid in a pattern and decorated with notched carving. Above in a slim zone representing the balcony, four attendants are wielding shovels or holding up other objects. The white wavy lines at the top of this rectangle space have been interpreted as a cloudy sky or a sun sail, yet the flaking white dots raining down on the workers suggest they are snowflakes. As such, these figures may be shovelling snow from the balcony. The architecture continues laterally to the sides, showing further pairs of attendants in four openings witnessing the central scene: at the top left a lance bearer and a falconer, below a bearded man in conversation with a sword bearer, at the top right a figure holding a duck and a cupbearer, and below two polo players equipped with polo sticks. In the uppermost zone, a hunt for a wild ass and a gazelle is depicted, in which the animals are approached by five riders from either side. They wield bow and arrows as well as falcons, and are followed by a hunting dog, with one falconer on foot visible on the right, behind a grey rock. The dynamic, overlapping forms of the riders highlight the dramatic composition. The rider pursuing the wild ass on a bright yellow horse in the left half of the depiction is visually accentuated by his larger face, the fur-lined princely headdress, a turquoise robe, and the framing green branches of vegetation, potentially representing the ruler. In the lowest zone, the scene is again taking place outdoors but appears calmer, with the procession of a caravan being led by two riders on horses whose gestures suggest conversation with the group of three riders that are approaching from the left. On the right follow four veiled, colourfully dressed female figures with one child, riding on two camels led by a footman. Similar to the workers on the balcony, the riders wear white conical hats."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9f191404-8086-5f50-8627-9cb3ba8a170e.jpg","display_order":2,"alt_text":null,"captions":{"en":"In the lower half of the page, fol. 3b represents the schematic portraits of the nine doctors of antiquity who are said to have successively produced and further developed theriac. Their names are written vertically to the right of the individual medallion portraits, which are encompassed by thinly-drawn red circles and framed by a red square, and arranged from right to left in three rows. The first doctor is Andromachos (Andruhmakhus) who is depicted in three-quarter profile, with a black beard and blue turban surrounded by a gold halo, as are all of the portraits on the page. He holds an open book with both hands, and appears to be reading from it. The second doctor is Herakleides (Abraqlidis), represented frontally, with a black beard and high light-blue turban. He holds an open book in front of his chest and wears a geometrically patterned robe. The third doctor is Philagrios (Aflaghuras), who is also represented frontally, with a long white beard and small brown cap, holding a closed book to his chest. The fourth doctor, first in the second row, is Proklos (Afruqlus), who is seated in a three-quarter profile with a grey-brown beard and a turquoise turban. In his outstretched right arm, he holds an open book. The fifth doctor is Pythagoras (Buthaghuras), frontally depicted with white hair and beard and a purple turban, holding a red book over his chest. The sixth doctor is Marinos (Marinus) in three-quarter profile, with a grey beard and a blue-golden turban, holding a brown book. The seventh doctor is Andromachos the Younger (Andruhmkhus al-qarib al-'ahd), the first in the third row, who is in three-quarter profile, is depicted with a white beard and hair covered by a round brown cap. He holds a brown book in his arms. The eighth doctor is Magnus (Maghnis), depicted frontally and with a high white turban, but his portrait is not well preserved. The ninth and last doctor is Galenus (Jalinus), who sits in almost full profile, has a white beard and a blue cloak pulled over his high turban. He is holding an open book but looks towards the right."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/af404af6-2b74-55d9-97ad-1b9dd40cb77b.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 4b illustrates in an oblong rectangular format the story of the physician Andromachus during a horseback ride, who witnesses a boy being bitten by a snake, kills it with a stick, and then cures himself of the effects of its poison by eating laurel fruit. Impressed by this, Andromachus was the first to develop a theriac consisting of four ingredients: laurel fruit, gentian, myrrh, and costus. Andromachus from Crete, personal physician of the Roman Emperor Nero, rides on a yellow, luxuriously bridled horse towards the boy standing in the left half of the picture, who is getting rid of the snake biting his foot with his hand and stick. The white-bearded doctor, dressed in a blue-violet robe covered with fine squiggly folds with golden arm stripes and a green turban, is shown in a side profile. His excitement at this discovery is expressed by his opened mouth and his right hand raised in a speech gesture with an outstretched index finger. The boy, in a three-quarter profile facing the doctor, is shown with slightly bent legs, wearing a knee-length, geometrically patterned, bright red robe with golden arm stripes over long white trousers, as well as a golden cap over his half-length black hair. His beardless, round face is shaped according to the Seljuq ideal of beauty. In-between the two figures, a laurel tree forms the central axis with its red berries and branches positioned symmetrically upwards. Underneath it, a stylised peacock is depicted, and on the far left a heron underneath a tree enlivened by colourful birds. Long-stemmed flowers spring from the lush meadow ground adorned with colourful buds. Golden haloes adorn the heads of the two figures as well as those of the small bluebirds, parakeets, doves, and bulbuls. The sky above is indicated by a two-part blue circle segment of gradient colour."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/61ee4c19-4a19-58a3-9463-238e3254efdd.jpg","display_order":4,"alt_text":null,"captions":{"en":"Fol. 9a depicts in an oblong rectangular format the story of the physician Philagrios and his assistant preparing a theriac. In the right half of the picture, between two fruit trees animated by colourful birds, the white-bearded physician with a turquoise-green turban, green undergarment and blue cloak is seated on a richly gilded and decorated throne with a red backrest. A hoopoe can also be seen flying above him. Philagrios holds a small yellow albarello-type vessel in his outstretched right hand towards his assistant who, standing on the left, seems to be ladling something out of a mighty black cauldron atop a hearth with flickering red flames into a golden bowl he is holding. The assistant, with his round beardless face, corresponds to the Seljuq ideal of beauty. He also wears a red turban, a tight turquoise dress that reaches above his knees, and long white trousers. To his left, a small grey and white cat-like creature climbs up a palm tree. The sky is indicated in blue circular segment shapes. The people and almost all of the birds have gold haloes."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/bdaaefd2-f4f6-5e47-8713-bef206c21a3b.jpg","display_order":5,"alt_text":null,"captions":{"en":"On fol. 10b, the story of Proklos and an assistant making the theriac is illustrated in an oblong rectangular format. The centre of the picture is occupied by a yellow cooker tapering upwards, with golden flames coming out of it, and a similarly shaped black pot in which the assistant, standing on the right, is stirring. With his left hand, he holds his red outer robe with golden arm stripes covering a white long shirt, and moves it away from the heat of the cooker. His round face with a black beard is crowned by a light green turban decorated with gold. His head is surrounded by a gold halo, as is that of the white-haired and white-bearded elderly doctor sitting opposite him with a light blue turban and a geometrically-patterned purple robe. The doctor on the yellow wooden stool points with one outstretched arm to the cooker, while, with the other, he holds up a turquoise-glazed double-handled vessel, likely a medicine container. The scene is completed by a blue-graded segment of sky at the top of the page with a golden full moon in the centre. To the left, the purple trunk of a branched tree with round leaves and red fruit forms the shelter of a grey heron peering out curiously from behind it. The area on the far right is occupied by a magnificent peacock executed in gold, pink and blue tones in front of two trees with yellow fruits populated by haloed green parakeets. Grass with budding flowers as well as long-stemmed plants enliven the blank ground."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/ecd895d2-eba5-5ab7-9919-4eb340190c3a.jpg","display_order":6,"alt_text":null,"captions":{"en":"At the bottom of fol. 17b, a painting in oblong format illustrates the healing of a leper. Andromachus the Younger relates that he was accustomed to regularly visiting the farmers in a village, possibly called Thurunus, and had his servant bring them food. One day, the servant brought them an earthenware wine jar that had been tightly sealed with a snake inside it. The farm workers made a leper drink from it, who became cured as a result. In the middle of the symmetrical composition sit two bearded men, potentially two doctors, or a doctor and his patient. Nonetheless, the figure on the left has a geometrical pattern on his vermilion robe and wears a blue turban, while the one on the right has a geometrically rosette pattern on his long blue robe, plus a purple turban. The red-clad figure holds a glass goblet of red wine in his right hand, while his other hand grasps the handle of an amphora-like earthenware yellow wine jug that stands on the ground between the two men. The blue-clad man, shown in profile with his mouth eloquently agape, extends his right hand towards the wine jug as if he had just handed it over while his other hand rests on his lap. Above them, likely located behind the pair, is a green pitcher-like vessel and a round three-legged tray with three differently coloured bowls. In the background, cone-shaped trees – perhaps cypresses – are depicted. On the far right and left, two bearded and almost bald farm workers dressed in white loincloths are shown. The one on the left, in profile with his mouth open in speech, is digging in the ground with a long-handled spade, while the one on the right, with a scarf slung around his shoulders, is in three-quarter profile, carrying a tall earthenware jug. Various birds are perched in the branching fruity trees above."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8b57b678-0488-5eab-92b2-12b527e10b20.jpg","display_order":7,"alt_text":null,"captions":{"en":"On fol. 18b, a painting in oblong format illustrates the story of Tulunus, the surveyor saved from a snakebite. In another tale, Andromachus the Younger tells of his brother, a royal surveyor, who was awoken by a snake biting into his arm while asleep under a tree. Desperate and expecting to die, he wrote his will, and after drinking water from a large clay jug found nearby, suddenly felt better. Astonished, he examined the bottom of the jar with a twig and found two dead snakes inside, which had apparently bitten each other to death. Andromachus ends the anecdote by saying that his cured brother had given up his profession and had instead devoted his services to being a medical assistant. In the painting, a sleeping man, dressed in a blue robe and a red turban, lies under a tree. His almost suspended, twisted posture seems to capture the moment just before his terrified awakening. A dotted pink-purple snake is coiled around his right arm and bites vigorously into his forearm. Above the man, a huge yellow amphora can be seen, which is a hint to the saving potion. His magnificently saddled and harnessed brown horse stands calmly on the right. Flanking them are two fruit trees enlivened by large coloured birds with small gold haloes symmetrically frame the picture. A few tall flowers and colourful flower buds grow out of the narrow strip of grass, and the painting already shows the title of the next story under the gradient blue-coloured sky segment."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e97b6309-9d6f-5e6e-a926-85daedb8856e.jpg","display_order":8,"alt_text":null,"captions":{"en":"Fol. 19a depicts in an oblong painting the story of the king's favourite slave being poisoned but ultimately saved by a snakebite. In the following story, Andromachus the Younger tells of the king's favourite slave Basthulus (possibly Basileios or Ptolemaios), whom courtiers poisoned with opium out of jealousy and locked him up in a garden house. He was awakened by the bite of a poisonous snake, and when he rapped the door from within the locked house and called for help, gardeners outside heard him and freed him. The poison of the snake had acted as an antidote and saved him from further suffering. The left half of the painting shows a garden with flowers and three fruit trees populated by colourful birds, through which two gardeners dressed only in white loincloths are hurrying with sticks and shovels towards the locked gold-ornamented blue door of the pink brick house. Their animated hand gestures indicate that they hear the pleas of the red-clad man inside the house, who, with arms outstretched towards the door in profile, is knocking and calling for help as a large purple snake bites him in the right leg. While the interior space remains empty, elaborate architectural forms such as a serrated pointed arch and a projecting meandering frieze with alternatingly coloured battlements on the flat roof are shown."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/0767898a-da1f-555c-b60d-4a17bf6a21d1.jpg","display_order":9,"alt_text":null,"captions":{"en":"On fol. 20a, five differently-coloured serpents are depicted between single lines of text describing the different serpents. Continuing from a prior page, at the top, the so-called ‘third serpent’ named Al-Ba'yu is shown in light blue with black dots and a lighter blue underside. The following ‘fourth snake’, Al-Miqis or al-Naqqab, is illustrated as a purple grey-spotted snake with a lighter underside as well. The ‘fifth snake’, Al-Mirs al-mu'attash, is brownish-yellow with bronze spots and a white underside. The ‘sixth snake’, Al-Mnunis, is pink with dark red spots and a white underside. The last and ‘seventh snake’, Akhulun, has brownish-pink colouring with red spots and a white underside."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/005d4de4-4bdf-51a1-b8e9-f3df30133bae.jpg","display_order":10,"alt_text":null,"captions":{"en":"Fol. 22b depicts in an oblong painting a scene of viper hunting. To obtain the poison of the vipers, straw is stuffed into fine, depilated fresh sheep skins. These are formed into human figures and glass eyes are even put into them before they are distributed in large numbers to various places. The vipers, mistaking the puppets for sitting humans, bite into them, expelling some of their poison, and, tired and weakened, become easily impaled by the hunters. In the left half of the painting, framed by two stylised trees, two black-haired, unclothed, cross-legged dolls are sitting, with three pink snakes biting into their shoulder, arm and leg. On the right, a doctor in a long red robe approaches with long golden tongs in his left hand, attempting to catch one of the snakes. He raises his right hand in a seemingly imploring manner and turns his face back towards a beardless youth. The latter, dressed only in a short golden cloak and a blue loincloth, raises his right hand in a speaking gesture towards the doctor, carrying a short stick in his left hand. Between them is a fruit tree, and across the open expanse of sky fly three birds which, like the two people below, have gold haloes."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/21dfbfc2-9113-59d4-9f2d-af7df538fcc5.jpg","display_order":11,"alt_text":null,"captions":{"en":"On fol. 34a, an oblong painting underneath a circular diagram of a theriac formula with gold decorated corner fillings illustrates the story of Galen and his assistant preparing the theriac as shown above. The double image of two physicians, presumably Galen and his assistant, are visible in a kneeling position within a circular frame. The left man in three-quarter profile with a black beard, a blue turban, and a red robe is moving a pestle in a richly decorated gilded mortar with his left hand. The face of his counterpart, dressed in a red turban and green robe, is shown in profile. The latter is holding a decorated golden albarello-type vessel. Three small satchels above them on the central vertical axis may contain medicinal properties."},"photographer":null,"copyright":"ANL"}],"tag_ids":["a0eefc98-b85f-5d09-b746-714555af5b63","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["03d23adb-52fc-5e9a-b84a-0cf1c00fe196"],"glossary_ids":["070e713b-f503-5f87-be41-16cb73c070b4","16131753-740a-5b87-bfb9-06606e67de19","2003ec95-a720-51cb-9dcd-774d9dc9f389","64d6c154-9408-5c99-93c4-4d53ffce9b15","811580e5-c0b8-5c27-8c10-3a3a36bee143","8f750e3f-a3f4-5b39-8f9c-97cbf1eb56ec","b6c3a09c-964b-5dd3-a091-e608967fe6ff","c2953466-916b-57e9-9f3b-409c9af9afa1","c77b27a2-a0b9-5b4b-903b-008ba93b0842","e99f9b90-c624-5aa1-815f-a47f478f7da3","f3052f85-4db5-5572-a790-f3dc9a248659"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"3e779188-7463-53b1-8360-81f5e5086837","type":"object","internal_name":"*Kitab al-Masalik wa’l-Mamalik of al-Istakhri*","backward_compatibility":"mwnf3:objects:GalEx6:uk:Mus82:3","project_id":"21cccf03-49f5-55d3-96f5-eddeee7a989d","partner_id":"4254b0ac-f9f7-5240-9b1a-92ebcee57fe6","country_id":"gbr","owner_reference":"MSS 972","mwnf_reference":"GalEx6_UK2_03","start_date":1280,"end_date":1335,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/80ac832e-ed73-58f2-9dc6-eb1e91b61e36.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Nasser D. Khalili Collection of Islamic Art"}],"tag_ids":[],"dynasty_ids":[],"glossary_ids":["2a3c0ddd-2061-5547-b807-78d7dfc8a700","56afd259-0505-5d2d-b7f1-9be15cb0dea2","64d6c154-9408-5c99-93c4-4d53ffce9b15","c7a6e5ba-2a85-5491-b7e4-4bdb152f4a22","ffd69886-00a2-5968-b0e0-16249a1412eb"],"artist_names":["Written by al-Istakhri"],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["en"]},{"id":"d1bf9339-5f6b-5368-a2c4-65e31939f9a9","type":"object","internal_name":"*Kitab al-Tasrif li-man 'ajiza 'an al-ta'lif fi al-tibb* (The arrangement of manifold medical knowledge for one who is not able to compile a book for himself: on surgery and instruments)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:32","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 476a","mwnf_reference":"AT4 32","start_date":1675,"end_date":1725,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/07d52fe6-6740-5ba7-aced-0e7dcd460d49.jpg","display_order":1,"alt_text":null,"captions":{"ar":"في الصفحة 33a نرى ثلاث أدوات جراحية مزخرفة بالحبر الأحمر. وقد وُضعت هذه التصاوير في وسط النص، بحيث تؤدي دور علامات فاصلة بين أقسام النص المختلفة، وفي الوقت نفسه تقدّم تمثيلًا بصريًا لمضمون الأجزاء النصية المجاورة لها. تُصوِّر الأداة العلوية مقصًّا مخصّصًا لجراحة العين، في حين صُمِّمت الأداتان الأخريان لإزالة النواسير من الأنف.","en":"On fol. 33a we see three surgical instruments that are decorated with red ink. The depictions are placed in the middle of the text, doubling as placeholders between the different parts of the text as well as providing a visual representation of the parts of the text they are put next to.  \nThe upper instrument depicts scissors that are to be used for eye surgery. Meanwhile the two other instruments are designed to remove fistulas from the nose."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/25a1b4bf-a395-518d-ba6a-2deb814fbf07.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تُوضَع الرسمة في الصفحة 37b مباشرة أسفل الثلثين العلويين من النص، ويبدو أن سير النص قد قُطع في هذا الموضع عمدًا، إذ يبدأ فصل جديد عنده. ويزداد التأكيد على هذا الانقطاع من خلال الخط المزخرف الواقع أسفل الرسمة، وهو خط يُستعمل في هذا المخطوط عادةً عند افتتاح الفصول الجديدة. وتُصوِّر الرسمة زوجًا من كماشات الأسنان يشبه إلى حدٍّ كبير الأدوات المستخدمة في الوقت الحاضر. وبفضل الدقة الواضحة في تنفيذ الخطوط المستقيمة والأقواس، يتبيّن أن الرسام استخدم، إلى جانب المسطرة، فرجارًا أيضًا في تنفيذ هذه الرسمة.","en":"The illustration on fol. 37b is placed right underneath the two upper thirds of the text. It seems as though the text was disrupted at this point intentionally as a new chapter starts there. Such a break in the text is further emphasised by the elaborate font underneath the illustration, that throughout this manuscript is typically adopted at the beginning of new chapters.  \nThe illustration depicts a pair of dental pliers that look fairly similar to the ones that are still in use today. Due to the precise execution of the straight lines and arches, It is apparent that alongside a ruler, a pair of compasses was also utilised for this illustration."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/776cea72-ae21-5a1c-aa57-0bd36c69514b.jpg","display_order":3,"alt_text":null,"captions":{"ar":"تصوّر الصفحة 42b زوجًا آخر من الملاقط، غير أنّ هذا الزوج صُمّم لإجراء عمليات استئصال اللوزتين وعدة أنواع أخرى من جراحات الحلق. وكما هو الحال مع ملاقط الأسنان في الصفحة 38a، فإن المدهش أنّ هذه الملاقط، ذات الأطراف المائلة، لا تختلف كثيرًا عن تلك المستخدمة في عمليات استئصال اللوزتين في العصر الحديث. وبما أنّ الأداة موضوعة مباشرة فوق عنوان أحد الفصول، فإنها تبدو وكأنها اختيار جمالي لتأكيد العنوان أكثر من كونها تصويرًا منفصلًا. ومن الواضح أنّ هذه الصورة قد نُفّذت جزئيًا بمساعدة أدوات هندسية، إذ رُسمت الخطوط والمقبض العلوي للملاقط بدقة كبيرة. أمّا المقبض السفلي، وبسبب طابعه غير المنتظم، فيبدو أنه قد رُسم يدويًا.","en":"Fol. 42b depicts yet another pair of pliers, however this one is instead designed to perform tonsillectomies and several other kinds of throat surgeries. As is the case with the dental pliers on fol. 38a, amazingly the pliers in question, with their slanted tips, are not too dissimilar from those used in modern day tonsillectomies.  \nGiven that the instrument is right above the title of a chapter, it makes it look as though it is more of an aesthetic choice to accentuate it rather than a separate illustration.  \nEvidently, this particular image must have been partly done with the help of geometric tools, as the lines and the upper handle of the pliers are rendered with great accuracy. However, the lower handle, due to its more uneven character, seems to have been painted freehand."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/24c2e525-a9c1-5724-b0b4-9f81c9e8f857.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في الصفحة 58a توجد صورة توضيحية لملقط توليدي مفتوح. وقد ابتكر الزهراوي العديد من الأدوات الخاصة بالولادة، بما في ذلك أجهزة معقّدة يمكن استخدامها كوسيلة مساعدة أثناء العمليات القيصرية. كما كان أول طبيب معروف يصف الحمل البطني في مؤلفاته، إضافة إلى وصف وضعية للولادة عُرفت لاحقًا في مجال التوليد باسم «وضعية فالخر (Walcher position)».","en":"On fol. 58a there is an illustration of an opened obstetric forceps. Al-Zahrawi constructed many instruments for childbirth, including intricate devices which could be used as an aid during a caesarean-section. He was also the first known physician to describe an abdominal pregnancy in his works, as well as a birthing position that would be much later on known as the \"Walcher position\" in the field of obstetrics."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d0665a00-77e4-52ea-964b-0a47d0bb7ec9.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 70b، تُعرض مجموعة مصوَّرة من تسعة أدوات مختلفة تُستخدم في جراحة البطن أو العظام أو الدوالي. وتبدو الأدوات المعروضة على شكل أنواع مختلفة من المشارط والمناشير الجراحية.","en":"Fol. 70b serves as a display for an illustrated collection of nine different instruments used for surgery on the abdomen, bones or varicose veins.  The instruments shown seem to be different kinds of scalpels and surgical saws."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1c086d3c-c5fe-57f4-a26e-a3e3ceddff54.jpg","display_order":6,"alt_text":null,"captions":{"ar":"تُصوَّر كأس الحجامة في الصفحة 89aمن الجانب. ويزين حافتها زخارف هندسية. ويتصل بالكأس نوع من المقبض، قد يكون مصمماً للمساعدة في تحرير الفراغ أسفل الكأس لإزالتها من جلد المريض.","en":"The cupping glass portrayed on fol. 89a is depicted from the side. Along its rim it is decorated with geometrical ornaments. Attached to the cupping glass is a kind of handle, that might be designed to help release the vacuum underneath the glass to remove it from a patient’s skin."},"photographer":null,"copyright":"ANL"}],"tag_ids":["8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":[],"glossary_ids":["64d6c154-9408-5c99-93c4-4d53ffce9b15","811580e5-c0b8-5c27-8c10-3a3a36bee143","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"4ca47641-f0ff-50a2-a7c3-b3adf3abb210","type":"object","internal_name":"*Kufic* Qur’an 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من حيث الخط والزخارف.","en":"There are similarities in the script and decoration.","fr":"Similitude en termes d’écriture et de décoration","es":"Existen similitudes en la escritura y la decoración."}},{"id":"e67f38ec-fa2d-5d97-b5a7-c6d7c6f6bd23","backward_compatibility":"mwnf3:monuments:ISL:pa:Mon01:3","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"أحضر المصحف من المسجد الأقصى.","en":"The Qur’an was brought from al-Aqsa Mosque.","fr":"Le coran provient de la mosquée al-Aqsa.","es":"El Corán fue traído desde la mezquita al-Aqsa."}}],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"a2b8f43a-d5fd-57c1-a88e-b1fc3a6097b2","type":"object","internal_name":"*Laylā visits Majnūn in the Wilderness*","backward_compatibility":"mwnf3:objects:GalEx6:us:Mus81:3","project_id":"21cccf03-49f5-55d3-96f5-eddeee7a989d","partner_id":"f7ad767b-6858-5305-9b31-88d0f48a19fb","country_id":"usa","owner_reference":"401:1952","mwnf_reference":"GalEx6_US_03","start_date":1635,"end_date":1685,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/14e8f565-66ab-5294-960a-812d7e36c615.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Saint Louis Art Museum"}],"tag_ids":[],"dynasty_ids":["b866c59b-f81b-5655-972c-c4ac569b959e"],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa","c63eadcb-48c2-5d81-af64-7d25734b9638"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"}],"languages":["en"]},{"id":"dc5f0937-d5aa-54f6-ab26-c328b079d9bf","type":"object","internal_name":"*Mashaf* (Qur’anic manuscript) of Barsbay.","backward_compatibility":"mwnf3:objects:ISL:pa:Mus01:28","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"325b7505-1527-5442-99ea-6a40f8c43d3f","country_id":"pse","owner_reference":"م/ ش/1","mwnf_reference":"PA 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On the far right, a medallion with Adam and Eve marks the beginning of the genealogy, and four lines extend from their image to four other medallions. The two figures in three-quarter profile are kneeling before a stream, facing each other within a green landscape with trees and a golden sky: interestingly, Adam and Eve are both fully clad in blue and pink, respectively. Adam has a fiery aureole, while Eve a round halo, denoting a sense of hierarchy between the two. Adam has his hands raised while Eve has hers crossed in front of her body. Above her, a fiery cloud of light extends its rays towards Adam, perhaps signifying the Godly presence. The highest line extending from Adam and Eves’ medallion leads to a painting of their son, 'Abdalharit, clad in light brown and seated in a cross-legged manner in a green landscape. His youthful face is framed by long brown hair. Underneath him, the following medallion reveals the half-figure portrait of Nabi Shith (Seth), a bearded prophet, with a golden-flame halo. At the very bottom, Habil Maqtul (Abel) is shown kneeling on a green ground, inclining his head, and having his right hand slightly raised with his palm turned upwards. His brother Qabil Qatil (Cain), in contrast, is shown to the left of Habils’ medallion, kneeling before a burning altar of sacrifice with his hands raised. His purple robe contrasts with the grey skin colour on his youthful, beardless face, perhaps a reflection of his prior bad deeds. In the left corner, the painting depicts Kayumarth (Gayumars), the first Persian ruler who introduced the furrier craft; hence, he has a lion-skin cape draped over his silver armour. He appears to be in a more dynamic position – potentially running – and holds an attribute, a battle axe, in his right hand."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/28f0353f-c483-56c7-9c42-f8586954edb4.jpg","display_order":3,"alt_text":null,"captions":{"en":"Following the genealogy on fol. 5a from right to left, multiple medallions containing a portrait or a name are included. The first medallion on the top right features Zahhak Mari, a legendary Persian ruler – indicated by the golden crown with elaborate decoration and luxurious garments in green with a fur-lined red vest – with two serpents extending from his shoulders, as seen here in this image. Following the lines connected to him, on the far left is Faridun Farrukh, another legendary Persian ruler who defeated Zahhak. In contrast to the bearded Zahhak, Faridun is shown as a youthful king with a similarly elaborate crown and the same style of dress, of which only the colours were inverted. Following a different genealogical line on the right, Nuh (Noah) is depicted as the ancestor of the Turks in a half-figure portrait with the arc as his attribute in the background. He is shown as an elderly man with white hair, a turban, and a flaming aureole, having his hands slightly raised as if in conversation, or in referral with his ancestors. On the line connecting Nuh and Faridun, a figure named Bulajas (Abulja Khan, Uljay or Bulja) is depicted. He is the son of Japheth (Yafath), the ancestor of the Oghuz Turks, and wears a fur-trimmed red cap. On the central line extending from Nuh, the portrait of Sam (Shem), Nuh’s son, follows. He has a youthful appearance, clad in a pink robe and wearing a cap with a white band. Sam’s son Arfahshad is depicted next, as a bearded man with a green fur-lined cap and a purple robe. To his left is Sha'ikh (Shabikh), Sam’s great-grandson, who is depicted in a similar manner. To the far left, Hud (Heber) is shown, who was an Arab prophet. As such, a flaming aureole is indicated around his turban."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6dca28fd-aa48-5d0a-ac09-aa7303e94169.jpg","display_order":4,"alt_text":null,"captions":{"en":"Fol. 13a depicts eight medallions with portraits, together with multiple name-roundels. At the top, Sevinj Khan, a Turkish ancestor, is shown with a fur-trimmed blue cap and three feathers. To his left, Toghrul Khan, a legendary Turkish ancestor, is depicted wearing a fur-trimmed yellow cap with a hat ornament. Underneath them, in a slightly bigger roundel, Iskandar Zu'l-qarnayn Rumi (Alexander the Great) is shown. He dons a particularly splendid crown, an elaborate multi-layered robe and holds a sabre in his raised left hand. To the left, the prophet Zakariyya (Zacharias), clad in a blue robe and red shawl, is depicted with a flaming halo around his turban. He is facing the figure to the left, Yahya (John the Baptist): this prophet also has a fiery aureole around his turban. Underneath him, Maryam (Mary) is shown with an exposed breast, nursing the baby Jesus, both bearing flaming aureoles. She wears an orange veil, a blue robe, and a pearl necklace, while the child is wrapped in a white cloth. At the bottom, two men are shown: Fihr, the progenitor of the tribe of the Quraysh on the right, and a person named Ghalib in a purple robe, facing the other man."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4f4972df-1e6d-5b83-bd8d-0fb2f0d5c96e.jpg","display_order":5,"alt_text":null,"captions":{"en":"On fol. 17a, the upper section with blue name-medallions is distinguished from the bottom section which is written in red. At the very top, two Turkish ancestors are portrayed: Qara Bugha Khan is shown wearing a fur-trimmed red cap on the right, while Qumri Khan on the left dons a similarly fur-trimmed blue cap. In the red section, a row of four men in larger medallions are depicted, starting with the Prophet Muhammad on the right. He wears a black turban with a fiery halo around it, and his face is covered by a green veil. His portrait is completely encircled by golden flames extending from the medallion. He is turned towards the men to the left who face the Prophet Muhammad. These three portraits represent Abu Bakr, 'Umar/'Omar, and 'Uthman/'Osman. They are all depicted in a similar manner but with alternating colours of their cap, their garments, and their beard."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2533e771-3b4e-5d07-8e3d-6b7e12442574.jpg","display_order":6,"alt_text":null,"captions":{"en":"Fol. 33a features two large medallions, namely that of Suleyman I Qanuni, who was the Ottoman Sultan from 926 AH / 1520 AD to 974 AH / 1566 AD, who has a grey-white beard, and wears a richly decorated high white turban and an elaborate ermine fur collar over a blue coat. To his left, Selim II is depicted, who was the Ottoman Sultan from 974 AH / 1566 AD to 832 AH / 1574 AD. He has a short brown beard, a similarly decorated high white turban, and a fur-trimmed green cloak."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d9075904-aac0-5674-b8ed-befe86a34cf5.jpg","display_order":7,"alt_text":null,"captions":{"en":"On fol. 36a, two large medallions portray the two last ruling sultans before the genealogy was completed. On the right, Mehmed IV, Ottoman Sultan from 1058 AH / 1648 AD to 1099 AH / 1687 AD, wears a low white turban decorated with black feathers and a green cap that both match with his luxurious garments. Interestingly, his face is modelled in an expressive and naturalistic manner with a greyish-pink skin colour. The area underneath the eyes is accentuated with deep wrinkles. To the left, Suleyman II, Ottoman Sultan from 1099 AH / 1687 AD to 1102 AH / 1691 AD, also has naturalistically executed features on a pale greyish face. The white turban under a green cap with feather decoration as well as the elaborate garments are similar to those of his predecessor. 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Hijaz Railway"}],"languages":["en"]},{"id":"b3139452-a18c-5578-a8f9-65f5a88d9fe0","type":"object","internal_name":"A treaty between the Regency of Tunis and the Grand Duke of Tuscany, concerning the jurisdiction over Tuscan Jews who migrated to Tunisia","backward_compatibility":"mwnf3_sharing_history:sh_objects:awe:it:126","project_id":"0f031e22-6dc6-5ce6-b94b-9bb88345140c","partner_id":"97c4b416-b7b0-59ba-a78b-d0769f52ed9b","country_id":"ita","owner_reference":null,"mwnf_reference":"IT1 126","start_date":1840,"end_date":1850,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/ab550b5f-acc6-52c4-aafa-57391c066130.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Archivio di Stato di 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Trust"}],"tag_ids":["93cef76f-e4af-51ba-95fb-ff8ed41fdd5c","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","21353bb0-24a8-5f2c-9885-49490e9423cd","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["b812e3d9-24d7-5ef1-bfc7-8031d0fa5144"],"glossary_ids":["3230cdd8-ec0e-5aa1-9b44-adc5716d86b8","aea62142-bf4f-5655-8c52-b1e856151ce7","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["ar","en"]},{"id":"12c86eff-6117-5981-a2db-6fc7d1b3ebdb","type":"object","internal_name":"Abu Ishaq Ibrahim b. Muhammad al-Farisi al-Istakhri, *Kitab Suwar al-Aqalim* (Book of Images of the Lands)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:15","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"Mixtus 344","mwnf_reference":"AT4 15","start_date":1500,"end_date":1550,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/95836dfd-7f52-5489-a3d5-3c143dbd7d56.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9a60a729-3171-5572-90cb-7567ea820594.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/fc18a04f-e7a3-556f-961f-906937f67c1b.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 1b includes an initial ornamental heading panel (*‘unwan/sarlauh*) with golden medallions and palmette shapes before a dark blue background filled with small brightly coloured floral scrolls. The central golden panel is inscribed in white with the title of the text. The brightly coloured floral scroll before a golden background extends playfully into the text block underneath, framing the lines of text at the top and at the bottom."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1dc79b7a-58d3-54ee-93b7-236736053d7e.jpg","display_order":4,"alt_text":null,"captions":{"en":"Fol. 2b includes a full-page illustration of the world map, framed at the top and bottom by title panels that are filled with ogival medallions that incorporate large headings in *thuluth* script, and are surrounded by a dense network of floral patterns. The square panel between them incorporates a roundel with the world map in circular form; the spandrels are filled with golden flowers before a white background. The caption in the panel above reads “*Surat al-Ard,*” or “picture of the world.” Al-Istakhri begins his treatise with a stylized map of the world preceding all regional maps. Its main purpose was to schematically indicate the position of the regions and their relationship to each other as well as to enable the reader to correctly classify the various regional maps. The circular map shows all known continents at the time, and the outside ring represents the encircling sea, as medieval scholars assumed that the other hemisphere was completely covered with water. The land mass is divided into geometric shapes with toponyms identifying the respective designated places, with Europe shown on the right. The three prominent islands in the Mediterranean Sea are likely Cyprus, Crete and Sicily. Africa is divided at the top by the Nile, which is shown as a straight channel extending upwards. Below the Nile, Egypt (*Misr*) and Syria (*Sham*) are indicated, and towards the left, the Indian Ocean opens into the encircling sea. The three circles within the map could be three small islands strategically located in the Persian Gulf. In the bottom left, the region of Khorasan is indicated, and towards the bottom centre, the Caspian Sea, the largest lake on earth, is shown in a keyhole-like shape. The high degree of abstraction of the stylised straight and curved lines in gold emphasises that there was no attempt to reproduce on any actual scale. Possibly, this type of representation served as an aid to memory. Moreover, the map is clearly readable and thus easily reproducible by copyists."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6cc8adf3-7adf-542b-937a-a3360cf3bfe4.jpg","display_order":5,"alt_text":null,"captions":{"en":"Fol. 9a features the regional map of Arabia. The full-page illustration includes colourful circles with inscribed toponyms possibly designating regions or large cities. These are arranged in a particular formation; for example, in the top right corner, the country of Oman is indicated as a light pink circle while Sana’a, the largest city of Yemen, is represented as a green circle slightly to the left. On the top right, the rectangular block reads “*Ab-e Zamzam*”, which references the so-called Zamzam Well in the courtyard of the *Masjid al-Haram* in Mecca. In-between these circles, trees, flowery shrubs and mountain formations with identification markers are incorporated. In the bottom left corner, a man with a golden fiery aureole appears to be involved in some form of manual work."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8c72ed89-d065-5815-abcc-32d98ff423bf.jpg","display_order":6,"alt_text":null,"captions":{"en":"Fol. 102b features the Caspian Sea as a large roundel with wave patterns before a blue background. The depicted river, which has been designated as the “*Rud-e Atil*”, the Volga, extends to the bottom left corner of the full-page illustration. It is Europe’s longest river, which flows into the Caspian Sea. Next to it, an orange circle with the same name as the river likely denotes the capital city of historical Khazaria. Other colourful circles with added toponyms also designate regions or large cities and in-between them are flowery shrubs arranged in a decorative manner. On the bottom left, a man on a horse is depicted with a fiery aureole. The inscription identifies him as “Hazrat Khizir ‘Ali al-Eslam”, potentially a prophet or guide of mystical journeys. His right hand was either not finished or is deliberately missing. Above his head, the light pink circle represents Abaskun, a medieval port and trading hub on the Volga trade route."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f159665c-8210-52b5-aca7-c97d86ef2de9.jpg","display_order":7,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["1a911f25-2169-5473-b48f-e5e9bf7e6aff","2003ec95-a720-51cb-9dcd-774d9dc9f389","3fd5d8e5-d6d9-5084-a7bc-f270946f8c24","5e33fb53-916f-516d-b614-5039d1c3c7ec","64d6c154-9408-5c99-93c4-4d53ffce9b15","801f574d-c2f6-52a3-ae7c-6a0074f1c59b","cf7d3667-7d96-58e6-af31-c5d6fe2c71b8"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"0a393936-e887-535c-bf34-e7741e566c1d","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:54","kind":"exhibition","slug":"arts_in_dialogue","legacy_host":"https://exhibitions.museumwnf.org","name":"Arts in Dialogue"},{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"690ddb14-8419-58b9-8cc0-666d98a20849","type":"object","internal_name":"Abu Mansur Muwaffaq ibn 'Ali al-Harawi, *Kitab al-Abniya 'an haqa'iq ad-adwiya* ('The Book of Fundamentals on the True Nature of Remedies')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:18","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 340","mwnf_reference":"AT4 18","start_date":1020,"end_date":1081,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/83db9dd2-6b62-5ba4-b567-c43f57f66c65.jpg","display_order":1,"alt_text":null,"captions":{"en":"On fol. 1r – the first page of the manuscript – four lines of text in varying sizes of calligraphic angular Persian *kufic* script can be seen in an elegant ductus, which functions as the sole form of ornamentation. The monumental black script designates the title in the first line and the dedication of the copy at the bottom. The word in largest letters, which translates to ‘book’ (*kitab*) located at the top, is written in a decorative manner: the first letter (*kaaf*) is elongated to make the word extend over the whole line, while the letter *alef* vertically reaches up to the very top. The next one in the hierarchy of size is the dedicatory note at the bottom, which appears to be more important than the actual title or the author’s name. The latter is enclosed between the monumental black calligraphy, presented in the smallest line of script, which, however, is written in red and thus visually distinguished, as usually the most important words are written in this colour. Turkish glosses are added in the margin at the top of the page."},"photographer":null,"copyright":"ANL"}],"tag_ids":["a0eefc98-b85f-5d09-b746-714555af5b63","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["03d23adb-52fc-5e9a-b84a-0cf1c00fe196"],"glossary_ids":["2003ec95-a720-51cb-9dcd-774d9dc9f389","64d6c154-9408-5c99-93c4-4d53ffce9b15","95fc5a14-1b29-5364-810a-69fc76087256","b574ce4b-f297-5c3f-b370-895a19b2933a","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"70d82e89-b0df-5268-a49f-ceb3a92a2ba4","type":"object","internal_name":"Abu Yahya Zakariyya' ibn Muhammad al-Qazwini, *'Aga'ib al-makhluqat wa-ghara'ib al-maujudat* ('The Wonders of Creation and the Marvels of Creation')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:16","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 152a","mwnf_reference":"AT4 16","start_date":1736,"end_date":1786,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/3779b2e4-3cfd-544f-810f-d8c35009ee84.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/dfb088e3-a581-52c5-8389-f20caea049dd.jpg","display_order":2,"alt_text":null,"captions":{"en":"Fol. 1b features an initial ornamental field (*'unwan/sarlauh*) in Ottoman-Turkish styled painting. A geometrically decorated band of red with black detail frames the ornamental field on the sides and creates a base for the title cartouche that was left empty. The half-medallion or pediment on top of the cartouche incorporates blue and gold floral arabesques with flowers in an interlaced manner, extending to the top through vertical floral motifs in blue."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/23403af0-7950-57a8-9fec-95c41fb76214.jpg","display_order":3,"alt_text":null,"captions":{"en":"On fol. 18b, an illustration of Saturn reveals a figure clad in red and green with six flatly drawn arms presenting various attributes: a spear, a rod, a scourge and a rat. Interestingly, the head is rendered in an undefined black shape. The figure is situated on the lower half of the page, drawn without any regard for the border of the text block. Immediately preceding the illustration, a group of words written in red include the Arabic name of Saturn. Below the scourge, written in the same tone of red over the frame, is an Arabic word potentially referring to judgement."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/154ae84f-673a-573a-bfb3-9c3c5d64c863.jpg","display_order":4,"alt_text":null,"captions":{"en":"Fol. 28a shows two signs of the zodiac, Gemini and Cancer, in separate illustrations. On the upper half of the page, following a three-line paragraph, the painting of Gemini is inscribed within the text border and flanked by brightly coloured vines with flowers in red, ochre, blue, and green. The zodiac sign is rendered as two figures in red and ochre with one eye each and connected by an embrace-like posture. The following paragraph opens with a red-coloured group of words including the word for Cancer, referring straight away to the painting underneath, which extends into the margins. Long vines with coloured flowers in a similar colour scheme to the drawing above surround the abstracted yet recognisable drawing of a crab in black colour."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/fc3a589b-607d-5ce9-bcbf-491acda4fb30.jpg","display_order":5,"alt_text":null,"captions":{"en":"On fol. 48b, a circular diagram extending over half of the page identifies the beginnings of the months. The corresponding words in the following paragraphs are highlighted in red. In contrast to the other paintings, this diagram is drawn in a more exact and diligent manner. It is likely that it was made by the scribe himself, rather than by the painters responsible for the illustrations."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/a3b9d1eb-47ad-5375-93e9-4e16418fe0fa.jpg","display_order":6,"alt_text":null,"captions":{"en":"Fol. 79b features a large pink bird with orange features between two paragraphs within the text block. The painting recounts the ancient legend of a miraculous bird that rescued a man from Isfahan, who was abandoned on a desert island. In an almost comic manner, the man, clad in green, orange, and ochre, is holding onto the bird’s feet and dangling at a strange angle as if he will fall off into the margin. Despite the simple and less precise drawing style, the painter managed to convey a certain drama with the bird in mid-flight and the man’s large bulging eyes and long moustache as he clings onto the bird’s claws."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6d50addc-c5f6-5642-b5b9-c3252d2d7a4a.jpg","display_order":7,"alt_text":null,"captions":{"en":"The upper half of fol. 98b depicts the four bearers of the Throne of Heaven from the vision of Ezekiel, or symbols representing the four evangelists. An anthropomorphic figure with wings occupies the top right space of the page, followed by a bull in the left-hand corner. Below the bull, a drawing of an animal referencing an eagle is visible, and next to it, a rather abstractly drawn lion. The pair of figures at the top and bottom face each other yet seem to serve a purely emblematic purpose. Here, the text border is again disregarded, with the large figures drawn over it, unapologetically extending into the margins."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c1078e02-0127-5596-8584-470cd2ed41ef.jpg","display_order":8,"alt_text":null,"captions":{"en":"Fol. 115b presents the only full-page illustration of Shabdiz, a pleasure palace near Bisotun, named after the horse of Khusrau II (r. 590-628 AD). The architectural structure is only shown in preliminary outlines, appearing to be unfinished. Within it, on the top, a figure with a crown is seated cross-legged in the centre, likely Khusrau himself. He is flanked by male figures with turbans and hats, probably representing his court or retinue. On the column-like structure in the outer margin, a veiled lady’s bust is depicted on the same level. Another figure at the bottom of the column, perhaps standing in a doorway, is gesturing to the depiction on the left: the only space with a fully coloured background filled with floral vines and white-orange flowers extending from a flat bowl at the bottom. At the top of the drawing, underneath a medallion-shaped arch, Khusrau is depicted again on horseback – likely on his horse Shabdiz – with a crown and either his insignia or hunting gear. He is surrounded by three attendants who are turning towards him. The grey background suggests that this depiction may be a mural, yet the fact that one figure’s feet are drawn outside this coloured area makes this fact more ambiguous. However, the hypothesis was put forward that the architectural structure and figures outside this mural-like painting were added by a different painter."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6155e9c1-9003-50b5-ada5-cdcbe35f4b60.jpg","display_order":9,"alt_text":null,"captions":{"en":"On fol. 130a, a nilometer structure is shown on a large scale within the text block, likely presenting a temple architecture of different compartments, all of which are brightly coloured. It is a structure that measures the water level of the Nile during flood season, and therefore was an important aspect of Egyptian agriculture. One type of nilometer, which is shown here in the lower part of the illustration, is a column with horizontal lines, which is likely a subterranean chamber underneath a burning fire and a lamp shown above. A figure is standing to the right, next to another contraption, likely a priest monitoring the changing water level."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4ccdc7ca-e861-5873-85fc-bf1f9606416d.jpg","display_order":10,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["0b7b13a1-8533-5472-85a2-1c589c3a076e","a054eff3-ab33-572b-8c6c-47a7d300c111","c2953466-916b-57e9-9f3b-409c9af9afa1","d741661c-846f-560d-a11c-19720819ac9a","ea137b2c-4b18-5db2-bba2-703e333c897d","ea9e06ca-7872-5541-9ac2-11302f8890c2"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"225b6fbb-7bbb-5a13-8f53-db01aafc65a5","type":"object","internal_name":"Abu Yahya Zakariyya' ibn Muhammad al-Qazwini, *Tuhfat al-Ghara'ib* (The Gift of Oddities)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:14","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"Mixtus 324","mwnf_reference":"AT4 14","start_date":1551,"end_date":1602,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/645f3081-f932-524a-8fdb-19c1fd3c5177.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9800d40b-e4eb-5f9e-94f9-c03e46fc5ffb.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/69fe6031-f227-5f65-a1aa-5c8469866e87.jpg","display_order":3,"alt_text":null,"captions":{"en":"On fol. 1b–2a, an ornamental double page each feature an eight-pointed star medallion with a gold centrepiece. They contain four gold and four black diamond medallions formed by vermilion arabesques on a blue background. These shapes could have been intended as dedicatory medallions yet were ultimately left empty. The remaining surface is patterned with a dense profusion of golden birds and flower tendrils in symmetrical arrangement. This type of elaborate marginal decoration is typical of Safavid manuscripts."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c0b3a999-262b-5a07-ae04-f75bae1b5131.jpg","display_order":4,"alt_text":null,"captions":{"en":"On fol. 1b–2a, an ornamental double page each feature an eight-pointed star medallion with a gold centrepiece. They contain four gold and four black diamond medallions formed by vermilion arabesques on a blue background. These shapes could have been intended as dedicatory medallions yet were ultimately left empty. The remaining surface is patterned with a dense profusion of golden birds and flower tendrils in symmetrical arrangement. This type of elaborate marginal decoration is typical of Safavid manuscripts."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d8e7fcd2-fee0-55b7-9165-86b0a4d1577d.jpg","display_order":5,"alt_text":null,"captions":{"en":"Fol. 2b, the right side of the double-page frontispiece, shows King Solomon sitting on an elaborate golden throne in the upper part of the painting. He can be identified by a flaming aureole reflecting his status as king and prophet. The green hilly landscape with red-dotted flowers and the golden background are barely visible due to the profusion of figures and animals surrounding him. According to Solomonic legends, he ruled over all kinds of creatures, including demons. Solomon even made Bilqis, the Queen of Sheba, convert to Islam. From the 15th-century onwards, double-page frontispieces of the enthroned pair surrounded by their court became increasingly popular. In the golden sky above Solomon, four angels appear to be floating while playing the tambourine, the lute, the flute and the harp. To Solomon’s right, the vizier Asaf is sitting on a golden stool with a document in his hand. Behind him is an entourage of three figures, one of which holds a falcon. All of them are wearing the *taj Haidari* or *taj-i Safavi*, the typical Safavid turban. To the left of Solomon, a large white demon (*jinn*) is also sitting on a stool, with two other demons behind it. To the white demon's left, a small ‘harpy’, a bird with a humanoid head, is sitting. Beneath the seated demon, a group of six people are conversing. The red pointed cap on one of these smaller individuals is known from numerous Ottoman miniatures, which could possibly be identified as a later addition by a Turkish restorer. Next to them and below them, two animals resembling Chinese mythical creatures (perhaps *pixiu* or *qilin*) circle each other, with their blue and pink colours providing a parallel to the two dragons fighting in the central vertical axis underneath the throne. The remaining surface is covered by various kinds of animals, reptiles, birds and insects. This painting may prefigure the content of the following text, featuring all kinds of figures and animals. The miniature is framed by a decorated serrated band in blue with delicate golden patterns in the shape of triangles and arabesque-medallions with red, light blue and white colour accents. Colour abrasions and damages are particularly apparent in the bottom frame, particularly regarding the blue colour. The surrounding marginal decoration includes regularised flower patterns surrounded by small floral garlands."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8262e1dd-dbaa-5d90-ba4c-68be2402a3a4.jpg","display_order":6,"alt_text":null,"captions":{"en":"Fol. 3a, the left side of the double-page frontispiece, shows Bilqis, the Queen of Sheba, comfortably lounging in the same upper register as Solomon, and surrounded by a similar landscape. Her face seems to have been deliberately rubbed off as all the other figures’ faces are intact. Her lavish throne is carried by two standing men on either side of her and is supported by a running demon (*jinn*), visible underneath the royal seat, who brings her to Solomon. An entourage of seven men surround her, two of which carry a large golden bowl and another a royal sword. Two large (*)Simurgh(*) birds are flying over the golden sky as well as two smaller white geese. A pair of birds sit on a rock in the background, and two green parrots are perched on her throne. These paired animals may foreshadow the outcome of the tale of her partnership with Solomon. In the middle ground, a procession of tamed and wild animals is led by a man dressed in bright orange who is holding up a staff. The domestic animals include a mule and a horse, each with a palanquin, two camels and an elephant decorated with bells. A giraffe, a bull, a monkey and other wild animals can also be seen. In the immediate foreground, a silver body of water, which has now oxidised to a black colour, includes two people bathing, fish, snakes and other water animals. The miniature is framed by the same decorated serrated band as on fol. 2b, in blue with delicate golden patterns in the shape of triangles and arabesque-medallions with red, light blue and white colour accents. The surrounding marginal decoration includes regularised flower patterns surrounded by small floral garlands."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/bbf99e09-e238-5f97-9600-63f586d643e8.jpg","display_order":7,"alt_text":null,"captions":{"en":"Fol. 3b–4a show two richly ornamented pages with the opening of the main text within white cloud bands and a golden background. The outer frame shows a serrated band with golden medallions and arabesques before a blue background with delicate flowery vines in bright red. Two unfilled inscription panels are located at the top and bottom of the inner frame, while its sides are also decorated in an arabesque motif of the same colours. The surrounding marginal decoration includes regularised flower patterns surrounded by small floral garlands."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9ef3ca8f-1a5c-5012-a742-167597adf999.jpg","display_order":8,"alt_text":null,"captions":{"en":"Fol. 3b–4a show two richly ornamented pages with the opening of the main text within white cloud bands and a golden background. The outer frame shows a serrated band with golden medallions and arabesques before a blue background with delicate flowery vines in bright red. Two unfilled inscription panels are located at the top and bottom of the inner frame, while its sides are also decorated in an arabesque motif of the same colours. The surrounding marginal decoration includes regularised flower patterns surrounded by small floral garlands."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/84203b18-0b32-5df4-9848-0c35676ed4ec.jpg","display_order":9,"alt_text":null,"captions":{"en":"Fol. 18b includes two illustrations in rectangular and square format within the text block, which is framed by a golden band. The illustration above depicts a kneeling Mars wearing his armour and a golden helmet as well as carrying a sword and a head trophy. The figure is inscribed in a grey roundel with golden cloud bands. Surrounding this central illustration is a dark blue sky with stars and fiery clouds in red, gold, light pink, grey and white. The illustration below shows a kneeling Jupiter clad in yellow and a white turban, who is holding up a golden astrolabe. He is depicted within a roundel of a dark blue starry background, which, in turn, is surrounded by a grey background with golden, light pink and white cloud motifs. Above this square illustration, a pink speckled area with traces of glue is visible, which suggests that a miniature may have been pasted in but is now lost."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8c84ea7a-4ae4-5d84-9957-a2eadcc33a2e.jpg","display_order":10,"alt_text":null,"captions":{"en":"Fol. 33b includes a half-page square illustration of beams emitting from the throne of heaven or of the four angels who carry the world. The grey background is filled with cloud bands in dark blue, pink, green and gold, while the central medallion is gilded, featuring the face of the sun in the middle. It is carried or held up by four angelic figures wearing elaborate clothes. Their faces are related to the cherubim, the throne bearers of God, present in the vision of Ezekiel. Moreover, they could also represent the Christian Evangelist symbols, namely the four faces of a lion, a man, an ox and an eagle.  The bright colours add to the vivid dynamic of the depiction. Their colourful wings are fanned out, extending outside of the frame, with their legs dynamically extended in a knee-run position, almost as if moving clockwise around the sun."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/ba7ec211-1f3c-549e-aae9-d920a69e3346.jpg","display_order":11,"alt_text":null,"captions":{"en":"Fol. 36a includes an oblong vertical painting of three angels spanning the entire length of the text block. The text is arranged in three small panels on either side; in between these panels, rectangular ornaments are pasted in that reflect floral scrolls, cloud bands and arabesques. However, only four are still extant while the two at the bottom have been lost. In the central vertical axis, a dark blue background with golden cloud bands surrounds three roundels of gold, grey, and gold, respectively. The one at the bottom is smaller than the other two, as there may not have been enough space left. The angel at the top is identified as Isma'il, the leader of the angels of the lowest heaven, who is shown in dark blue clothes and hiding his hands within his sleeves before his chest. The one in the middle is Miha'il, the leader of the angels of the second heaven, clad in yellow and holding a handkerchief in his left hand while pointing to the side with his right hand. The angel at the bottom is Sa'idja'il, the leader of the angels of the third heaven, presented in a green robe and gesturing upwards."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/ec2ded2c-cfe7-5d67-a27d-caca033317d0.jpg","display_order":12,"alt_text":null,"captions":{"en":"Fol. 55a includes five illustrations within the text block of animals and human-like winged creatures from the island of Java. The four illustrations in square format diagonally correspond through flowery grey and light pink backgrounds, which feature a potential civet, a monkey, a peacock and a bird. At the bottom, the rectangular illustration spans over the entire width of the text block, showing a dark– and light-skinned winged human figure gesturing towards each other before a golden background with flowers."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/74dee66f-1293-5a88-b3ef-40fe66b0c28b.jpg","display_order":13,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["73629243-5724-5991-9444-5393f6b78050","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["29eaeead-971d-5ced-a2f3-a650a47f04ff"],"glossary_ids":["0b7b13a1-8533-5472-85a2-1c589c3a076e","5dfb0beb-240c-5fb8-a4ba-14bd15936137","720487c1-6546-5ad8-96ce-6caedac4ddab","a054eff3-ab33-572b-8c6c-47a7d300c111","b96fb0ed-83cb-5316-ab1d-f4e286f25845","c2953466-916b-57e9-9f3b-409c9af9afa1","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"a082fcd1-6ab8-5065-913f-e8b18e48249c","type":"object","internal_name":"Acte habous","backward_compatibility":"mwnf3:objects:GalEx6:ma:Mus81:7","project_id":"21cccf03-49f5-55d3-96f5-eddeee7a989d","partner_id":"7df32468-b6ba-51bb-bf7d-829daebb9ef6","country_id":"mar","owner_reference":null,"mwnf_reference":"GalEx6_MA_07","start_date":1775,"end_date":1825,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/24519b37-ba2f-591d-bbb8-8693b9cec02e.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Mohammed VI Museum of Water Civilisation"}],"tag_ids":[],"dynasty_ids":["0dc8430e-9925-5792-b703-2201e9d5674a"],"glossary_ids":["38031924-6b4f-5fb1-9337-c0222f9b16d2","455c1318-16a9-50f2-9c44-6643a9de238c","a8525513-1742-5e9f-85de-bb2067ad9fb6","a95bf8cd-02b1-5d88-b68d-c21999469de6"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["en"]},{"id":"6cd1576c-84dc-565e-8f5b-d3d3ed636ea8","type":"object","internal_name":"Al-Hariri, *Maqamat* ('Assemblies')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:27","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 9","mwnf_reference":"AT4 27","start_date":1309,"end_date":1359,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/db537b4e-4443-5ea7-83d1-7c4d26618410.jpg","display_order":1,"alt_text":null,"captions":{"ar":"الصفحة 1a يتصدرها صورة رئيسية على شكل مربع، محاطة من جوانبها الثلاث بإطار زخرفي. يتألف الإطار من خط متموج منحني خطيًا مكون من أرابيسك ذهبي بحدود خارجية مشرشرة وتصاميم مزهرة بيضاء على خلفية زرقاء. تتقاطع هذه الأجزاء لتشكل شكلًا بيضوياً مدببًا بالون الأحمر على شكل برعم اللوتس في الوسط. الشكل الثلاثي الأضلاع قد يشير إلى أن صورة الإهداء كانت أصلاً جزءًا من صفحة واجهة مزدوجة. يعتمد الرسم على نماذج أقدم من العصر السلجوقي، ما يعرف بمدرسة الموصل، والصور التي تمثل الشخصيات والأشكال على الفخار. وفي هذه الصورة التشخيصية، يظهر الحاكم متوجا في وسط التكوين المتناظر على أرضية ذهبية. يجلس الحاكم عاقدًا ساقيه ويحمل كأس شراب- وهي سيمة مرتبطة بجلسات الشراب- ويحمل  أيضًا منديلًا، دلالة على مكانته كشخص متعلم رفيع المستوى. يوجد شخصان مجنحان يحملان شريط التكريم فوق رأسيهما، وتقفتهما العريضة توحي أنهما رسمًا في منتصف الحركة. أسفلهما توجد مجموعتان، في كل منهما ثلاثة  أشخاص، يحيطون بالحاكم من جميع الاتجاهات، يجلسون على أرائك حاملي الأقداح  أو يعزفون على الآلات الموسيقية مثل الناي والعود. أمام الحاكم مباشرة، يوجد بهلوان مقوس الظهر فوق وعاء ذهبي كبير. تمثل هذه الشخصيات المرافقة للحاكم الراقصين والموسيقيين والمحتفين، ما يوضح هناء و رخاء حياة البلاط. جميع الاشخاص لديهم وجوه مستديرة بلا لحى، وأعين على شكل لوزة، وغالبًا يظهرون في وضعية جانبية بحيث تُرى ثلاثة أرباع أجسادهم, مفعمون بالشباب، وذوو شعر طويل أسود أو بني محمر. تُزين أثوابهم بالأنماط الهندسية والزهور، وعصابات على أعلى الأذرع ، مما يوحي بأنهم أشخاص يتمتعون بمناصب رفيعة. الزخارف التي تزين ثوب الحاكم تحتوي على كتابة غير مقروءة. من المحتمل أن تكون هذه المنمنمة إهداء لتجسيد جلالة السلطان، الذي ربما أمر بإعداد هذه المخطوطة، وهو ناصر محمد بن قلاوون، الذي حكم للمرة الثالثة من 709 هجري / 1309 -1310 ميلادي إلى 741 هجري / 1340 -1341 ميلادي.","en":"On fol. 1a, the dedication frontispiece is shown in a square format, surrounded on three sides by an ornamental border. It consists of a curvilinear wavy vine formed of golden arabesques with a serrated outline, and white floral designs on a blue background in-between. Its intersecting parts form a red-coloured pointed oval with a lotus bud motif in the centre. The three-sided format may offer a clue that the dedication image was originally a double-page frontispiece. The painting is based on older models from the Seljuk period, the so-called ‘School of Mosul’ and figurative images on pottery. In this representational image, a ruler is shown enthroned in the centre of the symmetrical composition on a golden ground. He is sitting cross-legged and holds a drinking cup – an aspect of rulership associated with drinking ceremonies – as well as a handkerchief (*mandil*), the latter belonging to the equipment of a distinguished educated man. Two winged figures hold a ribbon of glory over his head, their wide stance suggesting that they are captured in mid-flight. Beneath them, two groups of three figures each occupy either side of the ruler, sitting on cushions and holding drinking vessels or playing instruments such as a type of flute as well as a lute. Immediately before the ruler is an acrobat in a back arch over a large golden bowl. These accompanying figures of the ruler – dancers, musicians, revellers – reveal the pleasures of refined courtly life. They have round faces with almond-shaped eyes mostly presented in three-quarter view, and they are depicted in a youthful, beardless manner with long black or reddish-brown hair. Their robes, finely decorated with geometric and floral patterns, have so-called *tiraz* bands on the upper arms, usually bestowed upon high-ranking individuals. The ones on the ruler’s robe show illegible, stylised writing. As a potential dedicatory image, it may pay homage to the sultan who possibly commissioned the manuscript, namely An-Nasir Muhammad b. Qala'un, who was in power for the third time from 709 AH / 1309-10 AD to 741 AH / 1340-41 AD."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/063641a8-42d4-53af-9e23-17cd8b2d5d21.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تعرض الصفحة 8b المقامة الثانية: أبو زيد في مكتبة البصرة,حيث ظهرت ضمن تكوين قريب من المربع، على خلفية ذهبية في القسم السفلي من الصفحة. يجسد الرسم لحظة  حيوية يتعرف فيها الراوي الحارث بن همّام البصري على أبي زيد من خلال ومضاته الإلهامية، إذ يخاطبه وينفصل عن الجمع من حوله. إلا أن عناصر الخلفية لا تتوافق تمامًا مع فضاء المكتبة الذي يفترض أن تدور فيه الواقعة، حيث نرى في الأعلى فرخ بط أزرق يطير، وشجرة سرو تميل مع حركة الريح، فضلًا عن غصنين مزهرين يحيطان بالمشهد من الجانبين. في أقصى اليسار  يظهر أبو زيد ذو اللحية الشيباء، مرتديًا ثوبًا أسود عليه أشكال من حوالق الأرابيسك الصفراء، ويقف مشيرًا الى الأرض. وفي مقابله، يظهر الحارث مرتديًا ثوبًا أحمر، ويداه مرفوعتان بنشاط وحماس. الجمع الكبير ممثل بثلاثة رجال يجلسون معًا، ويرمزون للأعمار و الأعراق المختلفة. يظهر الشاب الظاهر خلفهم برسم جانبي كامل، أما الرجلان الآخران فيرى منهما ثلاثة أرباع الجسد، ويرتديان أثوابًا مزينة بزخارف هندسية ونباتية.","en":"Fol. 8b shows the second *Maqama*: Abu Zayd in the library of Basra, depicted in an almost square format before a gold background in the lower half of the page. The painting vividly depicts the moment when the narrator al-Harith b. Hammam al-Basri recognises Abu Zayd by his flashes of inspiration and, addressing him, detaches himself from the crowd. However, the background is not compatible with the location of a library where the encounter originally took place, as a flying blue duck, a cypress bending in the wind, and two flanking palmette flowers are present. On the far left, the grey-bearded Abu Zayd in a black dress patterned with yellow arabesque tendrils is standing, pointing to the ground. Opposite him, clad in red and with hands raised vividly, is al-Harith. The large crowd is represented by three men sitting close together, symbolising the various ages and types, and a youthful figure in profile behind them. The others are shown in three-quarter view and clad in elaborately patterned robes with geometric and floral decorations."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9b7b3edb-fb32-5eed-85f5-d09d30690a29.jpg","display_order":3,"alt_text":null,"captions":{"ar":"في الصفحة 15b تعرض المقامة الرابعة، تُظهر أبو زيد وابنه ضمن إطار مستطيل على خلفية ذهبية تغطي النصف العلوي من الصفحة. يروي الحارث ابن همام البصري كيف سمع حديثًا مليئاً بالحكمة بين أبو زيد وابنه أثناء الفجر. يظهر رجل ذو لحية رمادية وشاب في مواجه بعضهما البعض، الأول مرتديًا اللون الأزرق والثاني مرتديًا اللون الأصفر الفاتح. أثوابهم مزينة بزخارف فاخرة ومذهّبة، ويرتدي كل منهما عمائم فاخرة. يظهرون وهم يرفعون أيديهم مع أصابع السبابة أثناء حديثهم. القمر الهلالي الأزرق فوق أبو زيد يشير إلى الوقت المبكر من اليوم. كما يشير المشهد الخارجي إلى المناظر الطبيعية من خلال طيور متعددة تحلق في السماء أو تجلس على النباتات المزهرة، بالإضافة إلى خط أرضي عشبي ومسطح مائي. تتجلى مكانة أبو زيد النبيلة في المنديل الذي يحمله بيده اليمنى، المنقوش على الخلفية المذهبة، لكنه يبقى غير مكتمل.","en":"On fol. 15b, Abu Zayd and his son are depicted, representing the fourth *Maqama* in rectangular format before a gold background in the upper half of the page. Al-Harith b. Hammam al-Basri relates how he overheard a conversation full of wisdom between Abu Zayd and his son at dawn. Standing, facing each other, are a grey-bearded man and a youth, the former dressed in blue and the latter in light ochre. Their robes are richly decorated and gilded, and the two figures don elaborate turbans. Their hands are raised and their index fingers lifted in conversation. A blue crescent moon above Abu Zayd indicates the early time of day. An exterior landscape is suggested by multiple birds, flying in the sky and perched on the flowery plants, by a grassy ground line and the water. Abu Zayd’s nobility is expressed by a cloth (*mandil*) in his right hand; it is carved into the gold background but remains incomplete."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/17b79b75-b046-5937-ad11-98db89397f79.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في النصف العلوي من  الصفحة 30b يظهر تكوين مستطيل على خلفية ذهبية، يظهر فيها القاضي مواجهًا أبو زيد وابنه مره أخرى في المقامة الثامنة. يشعر القاضي بأنه قد خُدع من قبل الاثنين، ولكنه يسمح لهما بالتمثيل أمامه مرة أخرى. يعترف أبو زيد بهويته، ثم يُصرف القاضي بعد أن يُنصَح بنصيحة حسنة. يظهر القاضي على اليسار مرتديًا ثوبًا أحمر وفوقه عباءة بيضاء، جالسًا متربعًا على الأرض ورافعًا سبابته نحو الأشخاص المقربين منه. أمامه، يظهر أبو زيد منحنيًا بخضوع مبالغ فيه، حافي القدمين، مرتديًا ثوبًا واسعًا فضفاضًا، مشيرًا  إلى القاضي في حديث شيق. خلفه يقف ابنه، وكذلك رجل ملتحٍ يرتدي لباسًا أزرق، يُعرف على الأرجح بأنه الراوي الحارث بن همام البصري. فوق أبو زيد تتدلى ستارة معقودة بزخارف أرابيسك ذهبية متدلية للأسفل، لتشكل عنصرًا بارزًا ومهيمنًا في تكوين اللوحة.","en":"In a rectangular format before a gold background in the upper half of the page, fol. 30b shows the judge having Abu Zayd and his son brought back to him in the eighth *Maqama*. The judge, feeling fooled by the two, lets them come before him again. Abu Zayd confesses who he is, and he is dismissed with good admonitions. The judge, depicted on the left, is clad in red robes underneath a white cloak and sitting cross-legged on the ground, raising his index fingers to the approaching figures. In front of him, in an exaggeratedly submissive bow, Abu Zayd is shown barefoot in a wide sweeping robe, gesturing to the judge in lively conversation. Behind him are his son as well as a bearded man dressed in blue, who can be identified as the narrator al-Harith b. Hammam al-Basri. Above Abu Zayd, a knotted curtain with dynamically unfolding golden arabesque tendrils is hanging down as a particularly dominant element of the composition."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f57f4698-9076-589a-964b-2e83426f391b.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 42b، يراقب الحارث بن همام البصري أبو زيد في الحانة (المقامة الثانية عشرة)، حيث يظهر المشهد في النصف السفلي من الصفحة ضمن تكوين مستطيل على أرضية ذهبية. ينضم الحارث إلى مجموعة من المسافرين الذين ينوون الانتقال من سوريا إلى العراق، لكنهم يفتقرون إلى دليل يعرف الطريق. صادفوا رجلًا رث الثياب يدّعي أنه سيقودهم إلى وجهتهم بسلام. في النهاية، يقود الرجل الركب عبر الصحراء وهو يردد دعاء طويل، وعندما وصلوا إلى مقصدهم، اختفى الرجل التقي بعد أن تم مكافأته بسخاء. ومع ذلك، يشتاق الحارث إلى صحبته، فيبحث عنه ليجده بدهشة في الحانة. ينشد الدليل ضاحكًا أغنية عن الخمر، كاشفًا عن نفسه بأنه أبو زيد. الجزء الداخلي للحانة يظهر ستائر مجمعة على الجانبين، وزجاجات وكؤوس مرتبة على صينية في الوسط بشكل متناظر. تتمثل النقطة المحورية في الرسم على الشاب الجالس في الوسط مرتديًا ثوبًا رائعًا باللونين الأزرق والفيروزي، يمسك قدح الخمر بيمينه ويمسك بذقن عازف العود بيسراه. ترتدي المرأة الموسيقية ثوبًا أحمر وأخضر مع وشاح شفاف موضوع فوق قلنسوة زرقاء، ينسدل على أكتافها دون أن يغطي وجهها، مثبتًا بعصابة رأس طويلة باللون الفيروزي مربوطة على الجانب. بين الشخصين يظهر رأس شاب آخر، والثلاثة يمتلكون شامات سوداء على وجوههم. في أقصى اليسار يظهر أبو زيد بشكل جانبي مرتديًا ثوبًا أسود مزخرفًا بأرابيسك صفراء، برفقة رجل يرتدي الأحمر، وهو يمسك كأس الخمر ومنديلًا أبيض. في أقصى اليمين، يظهر رأس الحارث الذي يستمع بتقزز إلى أحاديث السكارى، مدعيًا أنه يشرب معهم.","en":"Al-Harith b. Hammam al-Basri observes Abu Zayd in the tavern (twelfth *Maqama*) on fol. 42b, in a rectangular format before a gold background in the lower half of the page. Al-Harith joins a travelling party that wants to go from Syria to Iraq. However, they do not have a guide who knows the way. They come across a poorly dressed man who claims that he will guide them safely to their destination. As the man finally leads them through the desert, he recites a long prayer. When they reach their destination, the pious man disappears, having been richly rewarded. But Al-Harith longs for his company, looks for him, and eventually finds him, to his horror, in the tavern. There the guide laughingly recites a wine song and reveals himself to be Abu Zayd. The interior is represented with curtains gathered at the sides and symmetrically distributed bottles and cups on a tray in the centre. The focal point of the painting is a young man sitting in the middle, splendidly dressed in blue and turquoise, holding a wine goblet in his right hand, and grasping the chin of the lute player with his left hand. The female musician is dressed in red and green robes and wears a delicate, transparent veil over a blue cap, which falls over her shoulders and does not cover her face. It is held in place by a long turquoise headband tied at the side. Between the two figures is the head of another youth, and all three have black beauty marks on their faces. On the far left in a black robe patterned with yellow arabesques, shown in profile and in the company of a man dressed in red is Abu Zayd. He holds a wine cup and a white cloth (*mandil*). On the far right, the head of al-Harith is shown, who listens with disgust to the alleged drinking excesses."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/1a18ac66-a129-5984-a7e2-65c7babe3f5c.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة 48a، يظهر الراوي الحارث بن همام البصري مستريحاً برفقة أصدقائه في حرارة منتصف النهار، بينما يظهر أبو زيد متسولاً (المقامة الرابعة عشر)، ضمن إطار مستطيل على خلفية ذهبية في النصف العلوي من الصفحة. الحارث يعود من الحج وهو يستريح مع أصدقائه في خيمته المصنوعة من الجلد، حين يتوسل إليهم أبو زيد وابنه طالبين الطعام، مقدمين كلاماً مقنعاً ومفصلاً. يظهر الجزء العلوي من الصفحة، المكون على شكل قطعة دائرية، ليشير إلى سماء زرقاء، بينما تعكس النباتات المزهوة في الخلفية المشهد الطبيعي المحيط. تظهر رؤوس جملين وحصان مع كيس علف خلف خيمة مخروطية الشكل. عند مدخل الخيمة، يجلس أربعة أشخاص: في المقدمة يظهر الحارث مرتدياً ثوبًا تركوازياً زاهياً ورافعًا يده أثناء الحديث. وعلى اليمين يقترب أبو زيد مرتدياً ثوبًا أزرق وابنه مرتديًا ثوبًا أخضر.","en":"On fol. 48a, the narrator al-Harith b. Hammam al-Basri is shown resting with friends in the midday heat and Abu Zayd is depicted begging (14th *Maqama*), in a rectangular format before a gold background in the upper half of the page. Al-Harith is returning from the pilgrimage and rests with friends in his leather tent when Abu Zayd and his son beg them for food and mount with a persuasive, well-articulated speech. The blue sky is indicated by a segment of a circle at the top; the landscape is reflected by flowery plants in the background. The heads of two camels and a horse with a feeding bag are visible behind the conical tent. Crowding at its entrance are four squatting people: at the front in bright turquoise robes is al-Harith, raising his hand in conversation. On the right, Abu Zayd in a blue robe and his son in a green robe, are approaching."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/7e719cf6-71ed-50df-ae86-ad18338c640b.jpg","display_order":7,"alt_text":null,"captions":{"ar":"في الصفحة 64b,  تصور زيارة الأصدقاء لأبو زيد (المقامة التاسعة عشر)، ضمن إطار مستطيل على خلفية ذهبية في النصف السفلي من الصفحة. على الرغم من ادعائه المرض، يُثبت أبو زيد أنه مضيف مرح يبقي أصدقائه معه طوال اليوم ويسليهم بسخاء في المساء. على سرير خشبي محفور ومخزرف بعناية، يرقد أبو زيد المريض في وضعية متصلبة، ورأسه في وضع جانبي مرتدياً ثوباً فيروزيًا وعمامة بيضاء. عند رأس السرير يقف ابنه مرتديًا ثوبًا أصفر. في الوسط خلف السرير يظهر الراوي الحارث بن همام البصري مرتديًا ملابس سوداء مزخرفة بلفائف نباتية دقيقة باللون الأصفر، وعلى اليمين يقف رجلان يرتديان أثوابًا حمراء وزرقاء. الشخصيات الواقفة تظهر إشارات حيوية أما الرجل المرتدي اللباس الأحمر يميل رأسه بأسى. صمُم الجزء الداخلي من اللوحة بزخارف زرقاء في الزوايا العلوية، مع قبتين مدببتين مقسومتين إلى نصفين على الجانبين، وقبة مسطحة باللون الفيروزي في المنتصف تبرز فوق حافة الرسم.","en":"Fol. 64b depicts the visit of the friends to Abu Zayd (19th *Maqama*) in a rectangular format before a gold background in the lower half of the page. Abu Zayd proves to be a cheerful host despite his alleged ill state, keeping his visiting friends with him all day and entertaining them lavishly in the evening. On an elaborately carved and decorated wooden bed lies the sick Abu Zayd in a stiff position, his head in profile and wearing a turquoise robe and white turban. At the head of the bed stands his son clad in ochre robes. Behind the bed, in the centre, is al-Harith b. Hammam al-Basri, the narrator, in black clothes patterned with elaborate vegetal scrolls in yellow. On the right are two men in red and blue robes. The standing figures gesture vividly; only the red-clad man has his head pitifully inclined. The interior is represented by blue spandrels in the top corners, two halved pointed domes on the sides, and a turquoise-coloured flat dome in the centre, projecting over the edge of the painting."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d6eeb621-c0a4-5987-b58c-99bde66d859f.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 126a,  يصور مشهد احتفالي في شكل مستطيل على خلفية ذهبية في النصف العلوي من الصفحة. يلتقي الراوي الحارث بن همام البصري بمجموعة من الناس في الطريق الذين يحملون جرار الخمر ويستعدون للراحة. ينضم إليهم ويدرك من بينهم أشخاص متعلمين. فجأة، يصل أبو زيد إلى التجمع الصغير، ويبهج الجميع ببراعته في تلاعب الألفاظ (المقامة السادسة والثلاثون). تظهر مجموعة من خمسة أشخاص يحملون زجاجات الخمر، بعضهم يرفعها أو يشرب منها. في الوسط، يظهر أبو زيد مرتديًا ثوبًا فيروزيًا مزخرفًا بنقوش دقيقة، ورأسه منحنٍ في تأمل عميق. بجانبه شخصية شابة وآخر ملتحٍ. في أقصى اليسار يظهر الحارث مرتديًا ثوبًا أزرق، وهو يشرب من كأسه، بينما في أقصى اليمين يظهر الشخص الوحيد ذو البشرة الداكنة، مرتديًا ثوبًا قصيرًا أسود مزخرف بأرابيسك أصفر مع قطعة حزام بيضاء متطايرة. في الخلفية، فوق الشخصيات، يظهر وعاء كبير يحتوي على أوراق خضراء كثيفة وزجاجة خمر وكأسين. وتشير الزخارف الركنية في الزوايا العلوية إلى أن المشهد يدور في مكان داخلي.","en":"On fol. 126a, a scene of revelry is depicted in a rectangular format before a gold background on the upper half of the page. The narrator al-Harith b. Hammam al-Basri meets a group of people on the way who have loaded wineskins and are preparing to rest. He joins them and realises that among them are very educated people. Suddenly, Abu Zayd arrives at the small gathering and delights them with lively wordplays (36th *Maqama*). The crowded group of five people hold wine glasses, which they are raising or drinking from. In the centre, Abu Zayd is depicted in a finely patterned turquoise robe, with his head lowered pensively. A youthful figure and a bearded man flank him. On the far left, al-Harith, clad in blue, is drinking from his glass. On the far right is the only standing figure with darker skin and wearing a short black robe patterned with yellow arabesques and a fluttering, white belt cloth. A large bowl with thick green leaves, a wine bottle and two glasses, are depicted in the background above the group of figures. Corner spandrels at the top corners further suggest that the scene is taking place in an 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obituary listing eight victims of the Nizari Ismaʿili assassins","backward_compatibility":"mwnf3:objects:EPM:ca:Mus21:21","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"e0396062-330b-5c15-8ec4-2f6f68e8b2c0","country_id":"can","owner_reference":"AKM40","mwnf_reference":"CA1 21","start_date":1400,"end_date":1450,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/8f39d370-6a2c-540b-9a5e-cdf09b1a7534.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Aga Khan Museum"},{"url":"https://inventory.metanull.eu/pub/bf458362-6bd1-56e9-9976-fa1db03a108f.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"Aga Khan 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years')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:17","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 401","mwnf_reference":"AT4 17","start_date":1500,"end_date":1700,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/8e7a28df-fe41-5876-b4ea-4cd7f15d049d.jpg","display_order":1,"alt_text":null,"captions":{"en":"Fol. 4b shows two small paintings pasted into the margins around the text block. The text proper includes a title cartouche in larger script, tables with dates, and multiple inscriptions or commentaries in different hands, both inside the text block and in the margins. The painting of the monthly allegory in the upper margin is pasted in a 90-degree angle turned to the right. The rectangle shows a human figure in three-quarter profile with a halo before a blank background enlivened with red flowers, who is facing down towards the text. He wears a long-sleeved, knee-length pink pleated robe, a gold belt, and a blue cloth draped over his shoulder. The figure has grasped a corn-like plant with his left hand, which he is cutting off closer to its roots with a golden sickle in his right hand. This reflects the harvesting of crops in July, as indicated by the Arabic inscription of *Yuliyus* on the image. In contrast, the painting in the centre of the outer right margin depicts a brownish lion on a green meadow with red flowers before a mountainous backdrop and a fortress with towers in the upper right corner. Depicting the zodiac sign of Leo, the lion has turned its head towards the viewer."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/db49e616-0002-5259-8f3d-47b25eae7f78.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol. 7a, two small paintings pasted into the margins around the text block. The text includes a title cartouche in larger script, tables with dates, and multiple inscriptions or commentaries in different hands inside the text block. In the upper margin, the smudged Arabic inscription reveals that the monthly allegory corresponds to December (*Dicambar*). The figure in three-quarter profile, wrapped in long grab robes with luxurious gold clasps, is seated before a blank background and flanked by two high shrubs with pink flowers. As it is pasted in a 90-degree angle turned to the right, the figure is facing upwards, away from the text proper. The seated figure is likely a prince or a king due to his high tripartite crown and the large golden goblet in his raised right hand. To the left, a high-neck golden bottle indicates that he is consuming wine. Both the wine cup in his right hand as well as the royal handkerchief in his left hand represent symbols of kingship. The depiction of Capricorn in the centre of the outer margin shows the animal striding in profile to the left, with light-brown fur and long curved horns. It is standing within a rocky purplish foreground and before a sparse hilly backdrop in front of a golden sky."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/867e7c2f-1028-5e3c-803b-e1a35058059d.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 8a shows three small paintings pasted into the margins around the text block. The text proper includes a title cartouche in larger script, tables with dates, and multiple inscriptions or commentaries in different hands inside the text block. Additionally, the Latin inscription praising and honouring the Christian God (*Deo Trino et Uno honor Lausq(ue) infinita*) was added to the upper left corner. To the left, on the upper margin, the monthly allegory of February (*Fivaryush*) was pasted in a 90-degree angle turned to the right, the figure facing upwards, away from the text block. Before a blank background, a bearded man in a three-quarter profile with a halo, dressed in grey with a red shawl and red shoes, is kneeling before a flickering golden fire, seemingly warming his hands. Behind him, a high shrub with pink flowers is the only indication of the scene taking place outside. In the outer margin, the sign of Pisces is displayed as a white fish in blue water, above which a green shore and red flowers are shown before a sparse hilly landscape in front of a golden sky. Interestingly, another painting was added below, which stylistically imitates the allegorical paintings associated with the months of the year. It is turned in a 90-degree angle to the right, the figure facing upwards. A woman clad in a long green skirt and a pink shirt is shown in a three-quarter profile with a golden nimbus. She is crouching down, holding a fish in each hand, likely pulling them out of the water depicted before her."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/24335686-58bb-5434-8766-fa862f4c2b41.jpg","display_order":4,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["1a911f25-2169-5473-b48f-e5e9bf7e6aff","a054eff3-ab33-572b-8c6c-47a7d300c111","f2c933f6-93e1-5c11-a123-36ceacc8076f"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"},{"id":"e7ab71b7-4e32-5d7e-88bc-6dbffbaa4bb2","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:52","kind":"exhibition","slug":"the_table_is_set","legacy_host":"https://exhibitions.museumwnf.org","name":"The Table Is Set"}],"languages":["ar","en"]},{"id":"8dd3b36c-526b-5668-b79e-f5e7fec4f4dc","type":"object","internal_name":"Anthology of Persian Poetry","backward_compatibility":"mwnf3:objects:EPM:ir:Mus21:22","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"8cce8832-baec-59fe-a3c0-e47ad8d4d6d9","country_id":"irl","owner_reference":"CBL Per 127","mwnf_reference":"IR 22","start_date":1425,"end_date":1475,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/c4bba15d-e0eb-5bd6-8cf8-f47aa50a647e.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Chester Beatty Library"},{"url":"https://inventory.metanull.eu/pub/e28dd805-9b42-5d1a-9ac9-0fb7985fcce2.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"The Chester Beatty 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Benaki's list of acquisitions","backward_compatibility":"mwnf3_sharing_history:sh_objects:awe:gr:48","project_id":"0f031e22-6dc6-5ce6-b94b-9bb88345140c","partner_id":"d321bef5-3599-590f-a696-aa3a0d57d455","country_id":"grc","owner_reference":null,"mwnf_reference":"GR 048","start_date":1915,"end_date":1925,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/e866207c-81f1-5752-bc20-501b911e305f.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Benaki Museum"},{"url":"https://inventory.metanull.eu/pub/baab82e6-8312-5a04-b6fb-280b991b953d.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"Benaki 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128","start_date":1805,"end_date":1815,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/c6fc21c7-066d-534f-aefb-7fd3607de453.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Archivio di Stato di Palermo"}],"tag_ids":["8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","186e31e2-dc31-5240-b35b-61592873e53b","15026829-2fd2-55c3-b6a9-2ad8bc4d9aab"],"dynasty_ids":[],"glossary_ids":[],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["en"]},{"id":"89f36061-aab4-567a-ad9a-8b9204d45732","type":"object","internal_name":"Ar-Ribash, *Kitab al-'Izz wa'-manafi' li'l-mujahidin fi sabil Allah b'aalt al-hurub wa'l-madafi'* ('Book of Glory and Advantage for Those Fighting in the Holy War with Artillery and Cannons for the Glory of God')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:26","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 8","mwnf_reference":"AT4 26","start_date":1736,"end_date":1786,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/fad5c958-ac9b-565e-bd9c-93e514e51f5d.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/32a4b968-2506-5ae3-995b-1cde6036d302.jpg","display_order":2,"alt_text":null,"captions":{"ar":"صورة الغلاف: الصفحة 11b تتضمن الصفحة رسمًا كاملًا منفذًا بالقلم والحبر يُصوّر تصميم لبندقية قديمة تسمى بالكولفرين culverin مشتقة من اللاتينية. Qulibrina وفي الإسبانية colubrinus ويعني \"طبيعة الأفعى\" وفي اليمين فإن المغريقة mughriqa أو مغرفة البارود (بالإسبانية: cuchara ) ووعاء البارود السيلكة أو الاسفنجة ( بالإسبانية : lanada) والتي كانت تستخدم كماسحة لتنظيف البندقية، كما هو موضح في الرسم. وعلى الجهة اليسرى، يظهر رسم توضيحي لأداة تنظيف تسمى مدق midakk بالإسبانية (roquete) كانت تستخدم كعصا لتنظيف السلاح، كما تظهر أداة عصا asa (بالإسبانية: sacatrapos)، التي تعمل كمكشطة وسلك ساحب لتنظيف المدافع. إضافة إلى ذلك، وُضعت العصا الطويلة وصينية البارود الطويلة بشكل أفقي خلف العنصر المركزي في التكوين.","en":"Fol. 11b includes a full-page pen and ink blueprint of an ancient musket called culverin (*qulibrina*). Its name is derived from the Latin *colubrinus* translating to ‘of the nature of a snake’ (Spanish: *culebrina*). On the right, the *mughriqa* or power ladle (Spanish: *cuchara*), the powder pan, and the *silka* or sponge (Spanish: *lanada*), used as a wiper for cleaning the gun, are depicted. On the left, the illustration of the ramrod called *midakk* (Spanish: *roquete*), which functions also as a cleaning stick, and the wormer or *'asa* (Spanish: *sacatrapos*), which is a scraper and wire puller for cannons, are shown. The long ramrod and the long powder pan are crossed behind the central motif."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6bfe5180-f156-588f-9c9c-5f333eb091f3.jpg","display_order":3,"alt_text":null,"captions":{"ar":"على الصفحة 48b تحتوي الصفحة على رسم يقارب نصف الصفحة، منفذ بالقلم والحبر، يصور منجنيقا يُعرف باسم \" قطبلقر\" qatabulqar (بالإسبانية catapulta) الذي تم ذكره في عمل Pliny بلينيوس الأكبر: الرئيس (23/24 ميلادي – 79 ميلادي). وإن الكلمة العربية \" القطبلقر\"  مشار لها بخط أحمر في النص أعلى الرسم، مكتوبة بالخط المغربي. وأسفل الرسم التوضيحي، يظهر شكل القذيفة، وهو المقذوف الذي يُطلق من هذا المنجنيق.","en":"On fol. 48b, the half-page pen and ink drawing depicts a catapult or *al-qatabulqar* (Spanish: *catapulta*) which was referenced in the work of Pliny the Elder (23/24 AD - 79 AD). The Arabic word *al-qatabulqar* is highlighted in red script in the third line of text above the drawing, written in calligraphic *maghribi* script. Below the illustration is a depiction of a dart, which is the projectile fired from this device."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9689f9f4-d8d5-5afe-bec6-898495454d9a.jpg","display_order":4,"alt_text":null,"captions":{"ar":"الصفحة 72a تصور ستة مقذوفات مختلفة مرسومة بالقلم والحبر، تشغل أكثر من نصف مساحة الصفحة. في أعلى الرسم تظهر كرة من الصلصال مملوءة بالبارود ومغطاة بكرات من الرصاص متصلة بأسلاك معدنية. وتُعرف بالكرة المركبة من كُوَر (بالإسبانية: bala enramada). تظهر الكبسولة المصنوعة من الصلصال إلى اليمين، والمقذوف الجاهز إلى اليسار، معروضين جنبًا إلى جنب في أعلى الرسم. وفي أسفل المقذوفات إلى اليسار، تظهر شبكة معدنية مملوءة بالحجارة أو مادة مالئة مشابهة، تسمى الشاشية (بالإسبانية: escofia). وبجوارها مقذوف يعرف باسم البرميل barmil (بالإسبانية: barmil )، وهو مرسوم على هيئة برميل وتدي ومعباً بالحصباء. ويوجد برميل معدني ملفوف آخر مملوء بالحجارة مبين في الأسفل الى اليمين يسمى قنار (بالإسبانية: tonelete). وأسفله، إلى الجهة اليسرى، يُصور جهاز متفجر كان يستخدم لرشق السفن، ويبدو مزودا برأس.","en":"Fol. 72a depicts six different projectiles in a pen and ink drawing that occupies more than half of the page. At the top of the drawing, a clay ball is shown filled with gunpowder and covered with lead balls attached to metal wires. It is referred to as *kura murakkaba min kuwar* (Spanish: *bala enramada*). The clay capsule on the right and the finished projectile on the left are depicted side by side at the top of the drawing. 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Art"}],"languages":["en"]},{"id":"567ac179-c89c-5f43-a912-af9c71a221ec","type":"object","internal_name":"Collection of Mughal miniatures","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:33","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"Min. 64","mwnf_reference":"AT4 33","start_date":1600,"end_date":1800,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/87bc9997-c579-5d67-b328-fcd5a43f60db.jpg","display_order":1,"alt_text":null,"captions":{"en":"Fol. 19 depicts, in a figurative form, a genealogical table of the Mughal dynasty.  \nDominating the scene in the middle of the painting sits Timur, the founder of the Timurid-dynasty and direct ancestor of the Mughal emperors, on a throne. He is surrounded by Mughal emperors in two rows to the left and right of his throne; those represented in the top row portray previous Mughal rulers, whilst those below apparently depict the family of Aurangzeb. On the left side of the miniature in the upper row sit Akbar, holding a yellow flower, Humayun and finally Babur. The last of these, after successfully invading India, founded the Mughal-dynasty. Meanwhile, on the upper right side Jahangir, Shah-Jahan and Aurangzeb are seated. Jahangir and Shah-Jahan are portrayed holding pink flowers while Aurangzeb is leaning on a black shield and holding a sword. In the second row from the left Aurangzeb's four sons Kam Bakhsh, Azam Shah, Muhammad Akbar and Shah Alam I, his future successor, are standing. On the other side of the second row Aurangzeb's brothers Dara Shikoh, Murad Bakhsh and Shah Shuja are lined up. It appears that someone retroactively added numbers and letters to the portraits and wrote the matching names in Dutch below the genealogical table.  \nThe focus on Aurangzeb and his close male relatives strongly suggests that the miniature was painted during his reign and so It is therefore assumed that it was produced around 1091 AH / 1680 AD in Golconda.  \nThe miniature measures at 239 x 305mm."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8437c689-c954-551d-8a7f-7ff37217e623.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol. 31 there are two *dervishes*, accompanied by a dog. A *dervish* is a spiritual aspirant following a mystic movement of Islam called *Sufism*. As part of their spiritual path many *dervishes* vow to a life of material poverty to find abundance in their faith. Both of the *dervishes* are dressed in clothes that are made from leather and fur and, interestingly, the garment of the man on the left has the face of the animal it was made out of attached. They are equipped with begging bowls, daggers and long iron spikes to perform tricks. These attributes are usually ascribed to *dervishes* in Islamic miniature painting.  \nThe miniature was most likely painted mid 11th century AH / mid 17th century AD around the Deccan Plateau. The measurements are 228 x 168mm."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/78b6199d-f8c9-50c3-9bd9-6ab32ce9f686.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 46 shows a scene from the famous story of \"Yusuf and Zulaikha\". Zulaikha, who is madly in love with the handsome slave Yusuf, surprises her friends by bringing him to their gathering. Her friends proceeded to gossip about her attraction to Yusuf, so in revenge she brought him in while her friends were slicing up fruit. Her companions were so astonished by his looks that they became distracted and accidentally cut their own fingers. After this incident Zulaikha's friends realised that they too had succumbed to Yusuf's incredible good looks aswell.  \nThe scene takes place in a typical Mughal interior with high walls and decorative drapery. Yusuf is pictured with a crown and a flaming aureola, symbolising him as being chosen by God.  \n\"Yusuf and Zulaikha\" is the poetic interpretation of the Qur’anic and biblical story of Joseph and the wife of Potiphar.  \nThis miniature was finished around 1024 AH / 1615 AD and measures 198 x 130mm."},"photographer":null,"copyright":"ANL"}],"tag_ids":["66800a11-d506-5c74-9052-3a693173543f","6c6706e2-03ad-581b-8458-9f863db19398","c9d77b1b-fdcd-545f-99ac-a099fe0ddf06","dff4888b-d395-59e8-afaa-53d1ba9aee69","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["b866c59b-f81b-5655-972c-c4ac569b959e"],"glossary_ids":["811580e5-c0b8-5c27-8c10-3a3a36bee143","c47920b0-c22e-53d0-aa8c-93eb3956ca0e"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"},{"id":"e7ab71b7-4e32-5d7e-88bc-6dbffbaa4bb2","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:52","kind":"exhibition","slug":"the_table_is_set","legacy_host":"https://exhibitions.museumwnf.org","name":"The Table Is Set"}],"languages":["ar","en"]},{"id":"4d7b079a-e0d0-5069-8f8b-a7c650770aed","type":"object","internal_name":"Collection of mystical stories","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:31","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 380","mwnf_reference":"AT4 31","start_date":1686,"end_date":1736,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/059b0605-2883-5f4d-a2ca-423509ad071a.jpg","display_order":1,"alt_text":null,"captions":{"ar":"في الصفحة 157b، يوجد رسم مزخرف يُصور الكعبة المشرفة في مكة المكرمة مُحاطة بالأشجار، والمنبر موضوعًا على خلفية حمراء داكنة. رُسمت الكعبة من منظور علوي خفيف، بينما رُسم المنبر من جانبه. زُيّنت درجات المنبر بزخارف نباتية دقيقة. أسفل الرسم المُزخرف مباشرةً، يوجد شريط ذهبي كُتب عليه عنوان الفصل باللون الأسود. كُتب النص التركي بقلم مؤلف يُدعى مُعارف، يشرح فيه كيفية أداء الدعاء (الابتهال في صيغة صلاة) على الوجه الصحيح. وبناءً على ذلك، يبدو أن تصوير الكعبة والمنبر في بداية الفصل هو محاولة مقصودة لتكون بمثابة تمهيد يسبق مضمون هذا الفصل ويشير إليه.","en":"On fol. 157b there is an illuminated *unwan* depicting the Kaaba in Mecca surrounded by trees and a minbar positioned on a deep red background. While the Kaaba is painted from a slight bird's eye view, the minbar itself is pictured from its side. The stairs of the minbar are decorated with an intricate floral ornamentation.  \nRight under the illumination there is a golden band, wherein the title of the chapter is written in black *nasta‘liq*.  \nThe Turkish text was written by an author referred to as Mu'arrif. In it he explains how to properly perform *du'a'* (invocation in form of prayer). Therefore, it would seem that the depiction of the Kaaba and the minbar at the beginning of the chapter is a deliberate attempt to act as a kind of precursor regarding the content of this chapter."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/201c35dc-d2a7-524c-8daa-46afc2a4a976.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تفتتح الصفحة 190b الفصل التالي بزخرفة مؤطَّرة بمستطيل ذهبي، تتضمن تصوير أزهار حمراء متفتّحة تحملها سيقان مرسومة باللون الأخضر الزاهي. وتحت هذه الزخرفة يظهر مستطيل ثانٍ كُتب داخله عنوان الفصل بالحبرين الأحمر والأسود لإبراز أهميته، بينما طُلي النصف السفلي من هذا المستطيل بالذهب. ويتكوّن الفصل من رسالة عربية حول الشهادة، أي إعلان العقيدة الإسلامية، ألّفها الصوفي العارف الشهير ابن عربي. وبصفته عالمًا بالقرآن الكريم، يُعدّ ابن عربي معروفًا على نطاق واسع بتعاليمه الفلسفية والدينية، وقد اشتهر بدعوته إلى التسامح مع أتباع الديانات المختلفة، متبنّيًا فكرة أن لكل إنسان مساره الخاص والفريد في رحلته الدينية والشخصية.","en":"Fol. 190b opens the following chapter with an illumination that is framed by a golden rectangle within which are depicted red, blossoming flowers supported by stems painted in a lush green.  \nUnderneath the illumination there is a second rectangle, inside of which is the title of the chapter written in red and black ink to highlight its importance. The lower half of this rectangle is painted in gold.  \nThe chapter consists of an Arabic treatise on the *Shahada*, the Islamic profession of faith, by famous sufi-mystic Ibn ʿArabi.  \nAs a scholar of the Qur’an Ibn ʿArabi is best known for his philosophical and religious teachings. Famously, he preached tolerance towards people of different faiths, subscribing himself to the idea that each individual follows their own unique path during their personal, religious journey."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c6e2e3af-f891-5fae-a6f9-e94045791fda.jpg","display_order":3,"alt_text":null,"captions":{"ar":"في الصفحة 198bتظهر زخرفتان من نوع العنوان (unwan) تدلّان على بداية فصلين مختلفين في هذه الورقة.يتناول الفصل الأول عرضًا موجزًا لحياة وتعاليم الصوفي العارف ابن عربي، ألّفه الشاعر والمؤرخ العثماني كمال باشازاده. ويُفتتح هذا الفصل بتصويرة مزخرفة أخرى للكعبة، تختلف في معالجتها للخلفية؛ فعلى خلاف التصويرة الواردة في الصفحة 157، لا تُحاط الكعبة هنا بعناصر طبيعية أو معمارية، بل استُخدمت بدلاً من ذلك زخارف تزيينية. وتحت الزخرفة مباشرةً يظهر مستطيل طويل وضيّق كُتب داخله عنوان الفصل بالحبر الأسود، وقد أُحيط الخط بإطار دقيق من الحبر الذهبي. أما عنوان الفصل التالي، فيبدو أكثر بساطة مقارنةً بسابقه؛ إذ كُتب بالحبر الأسود داخل مستطيل طويل، وزُيِّن بدوره بالزخارف الذهبية نفسها الظاهرة في الزخرفة السابقة. ويمكن فهم استخدام الأنماط الزخرفية ذاتها في كلا الفصلين بوصفه محاولة مدروسة من الناسخ لتوجيه القارئ، مفادها أن الفصلين الواردين في هذه الورقة من تأليف كمال باشازاده. ويتضمن هذا النص تعليمات حول كيفية أداء الذِّكر، وهو شكل من أشكال التأمل الإسلامي يتم فيه ترديد الأدعية أو العبارات بصوتٍ عالٍ. وقد كُتبت هاتان الرسالتان لكمال باشازاده باللغة العربية.","en":"On fol. 198b there are two *unwans* indicating the start of two different chapters on this folio.  \nThe first of the chapters is a short exposition of the life and teachings of the sufi-mystic Ibn ʿArabi by the Ottoman poet and historian Kemalpashazade. The chapter opens with another illuminated depiction of the Kaaba, although this one is quite different in the way the background is executed. Unlike the depiction on fol. 157, the Kaaba is not surrounded by nature or architectural elements in this instance, but instead ornamental patterns are employed. Immediately under the illumination there is a long and narrow rectangle with the title of the chapter written in black, with the script being intricately framed in gold ink.  \nCompared to the former, the heading of the next chapter is rather minimalistic, being written in black ink inside a long rectangle which is further embellished with the same golden ornaments that we also see on the previous illumination. The use of the same ornamental patterns for both chapters can be seen as a considered attempt by the scribe to provide a hint to the reader: that both chapters on this folio are written by Kemalpashazade. This text is an instruction on how to perform *dhikr* (a form of Islamic meditation, where prayers or phrases are chanted) in a loud voice.  \nBoth of these texts by Kemalpashazade were written in Arabic."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/97962b04-1062-5596-aa30-bf6248139c66.jpg","display_order":4,"alt_text":null,"captions":{"ar":"الصفحة 206b تُصوِّر منبرًا فضيًا على خلفية سوداء، مؤطَّرًا بمستطيل ذهبي. ويُضفي الاستخدام المتعمَّد للحبرين الذهبي والفضي على أرضية سوداء طابعًا بصريًا لافتًا على هذه الزخرفة، يجعلها شديدة التأثير وجاذبة للنظر. أسفل المنبر، كُتب عنوان هذا الفصل بالحبر الأسود، وأُحيط بإطار من الحبر الفضي، بما يوفّر تناغمًا واضحًا في لوحة الألوان. وعلى جانبي العنوان، تظهر مستطيلات مملوءة باللون الأسود، وربما ترمز إلى الأرض، تعلوها عناصر نباتية مرسومة فوقها تشبه سنابل قمح ذهبية. ويُترجم عنوان هذا النص الفارسي إلى: «ارتشاف الكلمات؛ تعليم التعبيرات غير المفهومة»، وهو ما يشير إلى أن العمل قد يكون رسالةً تتناول الأسلوب المناسب في الكلام أو آداب التعبير.","en":"Fol. 206b depicts a silver minbar on a black background, framed by a golden rectangle. The intentional use of gold and silver ink on a black ground makes this illumination particularly impressive and eye catching.  \nUnderneath the minbar the title of this chapter is written in black ink and framed by silver ink, providing a sense of harmony in the colour palette. On either side of the title there are rectangles filled with black, perhaps representing the ground, above which are superimposed plants that look like golden wheat.  \nThe title of this Persian piece translates to \"The slurping of words; education on incomprehensible expressions\" which indicates that it might be a treatise on the appropriate way to 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هذا الوقف الشخصي لخاصكي خرم سلطان كانت زوجة سليمان الكبير وكلاهما مدفونان في ضريحهما في هذا المجمع في اسطنبول.","en":"The owner of this endowment charter, Haseki Hürrem Sultan, was the wife of Süleyman the Magnificent, both of whom are buried in their mausolea in this complex in Istanbul.","fr":"La propriétaire de cette charte de donation, Haseki Hürrem Sultan, était l’épouse de Soliman le Magnifique ; tous deux sont enterrés dans leur mausolée dans ce complexe à Istanbul.","es":"La dueña de esta escritura de fundación benéfica, Haseki Hürrem Sultan, era la esposa de Süleyman el Magnífico; ambos fueron sepultados en este complejo en Estambul."}},{"id":"919aef03-f815-592e-ab38-dd26eb510ac9","backward_compatibility":"mwnf3:objects:ISL:uk:Mus01:50","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"تحمل الشخصية الوقفية أيضا نسخة من طغراء سليمان  الكبير كما كان يشاع عنه.","en":"The endowment charter also bears a copy of the tughra of Süleyman the Magnificent as it was legalised.","fr":"Document officiel, la charte de donation porte aussi une copie du *tughra* de Soliman le Magnifique.","es":"La escritura de fundación benéfica también contiene una copia del tugra de Süleyman el Magnífico, para poder ser legalizado."}},{"id":"ada2243f-108b-5eed-b2bf-2399e60e1491","backward_compatibility":"mwnf3:objects:ISL:pa:Mus01:33","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"استخدم هذا القدر في المضافة التي كانت إداراتها تنظم من قبل هذه الشخصية الوقفية.","en":"This cooking cauldron was used in the imaret whose administration was regulated by this endowment charter.","fr":"Ce chaudron de cuisine était utilisé dans l’*imaret* dont la gestion était prévue par cette charte de donation.","es":"Este caldero era usado para cocinar en el imaret cuya administración estaba regulada por esta escritura de fundación 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'Ali Khan Shaba of Kashan, *Shahanshah-nama* (The Book of the King of Kings)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:25","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 1","mwnf_reference":"AT4 25","start_date":1785,"end_date":1835,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/d74b5303-6942-571b-8511-6b680831c5e6.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/15bba482-a213-5416-9282-a5427f186dc9.jpg","display_order":2,"alt_text":null,"captions":{"ar":"في الصفحة 8b، يظهر حقل زخرفي أولي (*'unwan/sarlauh*) فوق الأعمدة الأربعة للنص. الزخرفة داخل الحقل الذهبي المسنن مغطاة بنقوش ماسية، وزوايا لولبية مزينة بأزهار زرقاء ووردية. أسفله يُعرض لوحة العنوان بزخرفة مشابهة، وفي الهوامش الخارجية والسفلية تُرسم كروم ذهبية مزهرة بدقة.","en":"On fol. 8b, an initial decorative field (*'unwan/sarlauh*) is visible above the four columns of text. The decoration within the serrated gold field is overlaid by blue diamond motifs and spirals decorated with blue and pink flowers. Underneath it, the title cartouche is shown with similar ornamentation, and in the outer and lower margins, golden flowery vines are delicately drawn."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/3c141887-8028-5fa5-a935-772b0141233d.jpg","display_order":3,"alt_text":null,"captions":{"ar":"في الصفحة  25b، تتضمن اللوحة مستطيلة كبيرة في وسط كتلة النص، مع وجود سطرين من النص في الأعلى وثلاثة أسطر في الأسفل. تُصوّر اللوحة معركة بين فتح علي شاه وصادق خان شقاقي قرب قزوين، إيران. كان صادق خان متمردًا هُزم على يد الشاه. في مقدمة اللوحة، بلون أخضر شاحب وخلفية مناظر طبيعية رمادية، تجري معركة حيوية. على اليسار، يظهر فتح علي شاه على حصان أبيض مصبوغ جزئيًا بالحناء، مرتديًا تاجًا وملابس فاخرة ولحيته الطويلة المميزة. يتبعه مجموعة من الفرسان المرتدين الخوذ، حاملين الرايات، بالإضافة إلى جنود مشاة مسلحين بالبنادق. المزيد من القوات يندفع في الخلفية، مشجعين بصافرات البوق. في المقدمة القريبة، يظهر الفوضى من خلال تصوير الخيول الساقطة والراكضة، والرجال المقطوعي الرؤوس والرؤوس المتدحرجة، ما ينقل عنف القتال بألوان زاهية.","en":"Fol. 25b incorporates a large rectangular painting in the centre of the text block, with two lines of text at the top and three lines of text at the bottom of the page. The painting depicts the battle between Fath ‘Ali Shah and Sadiq Khan Shaqaqi near Qazwin, Iran. Sadiq Khan was an insurgent who was defeated by the Shah. Within a pale green foreground and a greyish landscape in the background, a lively battle is taking place. On the left, Fath ‘Ali Shah is shown on a white horse that is partly dyed red with henna. He is wearing a crown, luxurious garments, and his characteristically long beard. A group of helmeted riders with standards as well as foot soldiers with guns are following behind him. More troops are charging forward in the background, cheered on by trumpeters. In the immediate foreground, chaos unfolds with the depictions of fallen and galloping horses, beheaded men and rolling heads, which conveys the wild fighting in bright colours."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/020dbcff-ffcf-573c-97f6-73cdeef491f8.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في الصفحة  29a،  تُعرض لوحة مستطيلة كبيرة في وسط كتلة النص، مع وجود ثلاثة أسطر من النص في الأعلى وسطرين في الأسفل. يظهر فتح علي شاه مرتديًا رداءً أرجوانيًا على عرش الطاووس، وابنه بجانبه مرتديًا البرتقالي ويحمل تاجًا. يُصوَّر فتح علي شاه وهو يشير نحو وريثه، لكن نظره موجه نحو الخدم الاثنين الحاملين للأشياء المزخرفة على اليسار. يقف رئيس مراسم البلاط ممسكًا بعصا على الجانب الأيمن. أمام المقدمة الخضراء والخلفية الرمادية الزرقاء، تبرز كبار موظفي البلاط والسكرتير بألوان زاهية، حيث يحمل الأخير شهادة من الشاه، معلنًا عن الاحتفالات القادمة بتتويج الوريث.","en":"On fol. 29a, a large rectangular painting is shown in the centre of the text block, with three lines of text at the top and two lines of text at the bottom of the page. Fath 'Ali Shah, in a purple robe, on the peacock throne, with his son next to him, clad in orange and wearing a crown. Fath 'Ali Shah is depicted gesturing towards his heir, yet his gaze is directed to the two attendants bearing ornate objects to the left. The court master of ceremonies is standing with a cane on the right side. In front of the green foreground and grey-blue background, the court officials and the secretary stand out vibrantly, with the latter holding a diploma from the Shah, announcing the forthcoming enthronement festivities."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/207893f4-9b96-5260-82eb-0dc86d05bedd.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة  61a،  تتضمن لوحة مستطيلة كبيرة في وسط كتلة النص، مع وجود سطرين من النص فوق وأسفل الرسم التوضيحي. تُصوّر اللوحة ميرزا رضا قلي، منشي الممالك، وهو يستضيف ويقدّم الهدايا للشاه في سودا شت خلال رحلة. يجلس فتح علي شاه على عرش نادرية الشهير، وهو عرش مرصّع بالجواهر ومطلّي بالمينا، صُنع بأمره. يرتدي الشاه ملابس برتقالية مزخرفة بشكل فاخر وتاجًا مرتفعًا مزينًا بما يناسبه. خلفه يقف أحد الأمراء مرتديًا تاجًا مشابهًا لكنه أقل زخرفة. المنطقة الأمامية والوسطى المكسوة بالعشب مكتظة بمجموعات من الشخصيات على الجانب الأيمن، مواجهين الشاه ومتجهين نحوه. يقدم رجال البلاط، المرتدون بروب الذهب أو الملابس الملونة بالبرتقالي والأرجواني والزهري والأزرق، هدايا مثل الأقمشة والجواهر، حيث يحمل أحدهم حتى لفافة مفتوحة ربما يقرأ منها. في الخلفية، يظهر منظر طبيعي أزرق-أخضر ضبابي بأسلوب أوروبي، يتضمن قرية صغيرة أو أطلالًا.","en":"Fol. 61a incorporates a large rectangular painting in the centre of the text block, with two lines of text above and below the illustration. The painting depicts Mirza Rida Quli Munshi al-mamalik, entertaining and presenting gifts to the Shah in Sawdasht during a journey. Fath 'Ali Shah is seated on the famous Naderia Throne, a gemmed and enamelled throne made by his order. He is wearing elaborate decorated orange garments and a high crown with suitable ornaments. Behind him stands a prince with a similar, yet less elaborate crown. The grassy fore- and middle-ground is populated by groups of figures on the right side, facing and walking towards the Shah. The courtiers in gold brocades and colourful robes or pink, purple, orange-red and blue present gifts such as textiles and gems, one man even bearing an opened scroll. from which he may be reading. In the distance, a blue-green blurred landscape in European-style painting, with a small village or ruins, can be seen."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d7d075d9-6186-5500-a76e-45317deec37c.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة  92a،  تُظهر لوحة مستطيلة كبيرة في وسط كتلة النص، مع سطرين من النص في الأعلى والأسفل. تُصوّر اللوحة مشهدًا من زمن فتح علي خان قاجار (1686-1726)، جد فتح علي شاه الأكبر، الذي يُقال إنه دخل أصفهان حاملاً رؤوس أعدائه المقطوعة كغنائم انتصار. هزم فتح علي خان قاجار السلالة الأفغانية التي كانت تتصارع على السلطة مع آخر الصفويين وسلالة زند. يظهر فتح علي خان في مقدمة جيشه خارج أسوار المدينة المصوّرة في الخلفية، وهو يندفع للأمام حاملاً رؤوس أعدائه على أسياخ طويلة، في حين يحملها أيضًا رجال جيشه. يركض اثنان من المقاتلين نحوهما حاملين رؤوسًا مقطوعة. في الزاوية اليمنى السفلية، تبدو المدينة في حالة فوضى، حيث يفر السكان من العنف. يمكن ملاحظة رجل مسن ذو لحية بيضاء طويلة قد سقط على الأرض، بينما تظل عمامته ملقاة بجانبه.","en":"On fol. 92a, a large rectangular painting is shown in the centre of the text block, with two lines of text at the top and bottom. It depicts a scene from the time of Fath 'Ali Khan Qajar (1686-1726), the great-grandfather of Fath 'Ali Shah, who is said to have entered Isfahan with the severed heads of his enemies as victory trophies. Fath 'Ali Khan Qajar defeated the Afghan dynasty, which had struggled for power with the last Safavids and the Zand dynasty. He is seen at the head of his army outside the city walls pictured in the background, charging forward with the heads of his enemies raised on long spikes that he and men of his army are carrying. Two riders gallop towards them, also holding up severed heads. In the bottom right corner, citizens of the city appear to be in turmoil and fleeing from the violence. One elderly man with a long white beard has already fallen, his turban lying next to him."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e6e99e11-9f48-5b8b-ae25-2ae685983e3a.jpg","display_order":7,"alt_text":null,"captions":{"ar":"صورة الغلاف: في الصفحة 119b،  تضم اللوحة مستطيلة كبيرة في وسط كتلة النص، مع سطرين من النص في الأعلى والأسفل. تُصوّر اللوحة معركة بين محمد حسن خان قاجار (1715-1759)، جد فتح علي شاه، وعدوه آزاد خان الأفغاني (توفي 1781). يقترب الشاه مع قواته من الجهة اليسرى، مرتديًا ملابس فاخرة وعمامة مرصعة بالجواهر. في المقدمة القريبة، المعركة في ذروتها، مع تناثر الدم من الأجساد المصابة. بعض الفرسان يرفعون رؤوسًا مقطوعة كما لو كانوا يقدمونها للشاه. أمام الخلفية ذات الطراز الأوروبي مع المباني الصغيرة، تمتد مجموعة من راكبي الجمال مصطفة في صفوف إلى الأفق. المشهد القتالي الكثيف ديناميكيًا، ويُرافقه ارتداء ملابس ملونة زاهية باللون الوردي، الأرجواني، الأزرق، الأحمر، البرتقالي، والأصفر.","en":"Fol. 119b incorporates a large rectangular painting in the centre of the text block, with two lines of text at the top and bottom of the illustration. The painting depicts a battle between Muhammad Hassan Khan Qajar (1715-59), the grandfather of Fath 'Ali Shah, and his enemy Azad Khan Afghan (d. 1781). The shah approaches with his troop from the left, in luxurious garments with a bejewelled turban. In the immediate foreground, the battle is already in full effect, with blood spraying from injured bodies. Some riders hold up severed heads as if presenting them to the shah. In front of the European-style background with small buildings, a group of camel riders extends in a lined-up position into the distance. The dynamically dense battle scene is accompanied by vividly coloured garments in pink, purple, blue, red, orange, and yellow."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c5c7e75b-6f4a-5512-83b0-efd1f460b007.jpg","display_order":8,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["f1a0aabb-d7fe-54dd-be7c-6c4dd487b739","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["d9aed700-4f88-5eae-b943-d855a671e948"],"glossary_ids":["3fd5d8e5-d6d9-5084-a7bc-f270946f8c24","5dfb0beb-240c-5fb8-a4ba-14bd15936137","801f574d-c2f6-52a3-ae7c-6a0074f1c59b","811580e5-c0b8-5c27-8c10-3a3a36bee143","bd6ee598-f323-5770-a786-0151295aea83","cf7d3667-7d96-58e6-af31-c5d6fe2c71b8","d741661c-846f-560d-a11c-19720819ac9a","f2ec79dc-0998-56d5-8cc2-bce2d4228e77","f3052f85-4db5-5572-a790-f3dc9a248659","ffd69886-00a2-5968-b0e0-16249a1412eb"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"9245b827-e2b3-5d39-ad6f-d1f2358eaffb","type":"object","internal_name":"Fatwa on water management","backward_compatibility":"mwnf3:objects:GalEx6:ma:Mus81:8","project_id":"21cccf03-49f5-55d3-96f5-eddeee7a989d","partner_id":"7df32468-b6ba-51bb-bf7d-829daebb9ef6","country_id":"mar","owner_reference":"42","mwnf_reference":"GalEx6_MA_08","start_date":1925,"end_date":1975,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/ca5af661-4396-538b-83a9-889419b6a25d.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Mohammed VI Museum of Water Civilisation"}],"tag_ids":[],"dynasty_ids":[],"glossary_ids":["664a6020-4914-5595-8215-d0a0af9a4b9e","6f9e5b1d-8c35-59ba-9052-011f4c240ecf","c2953466-916b-57e9-9f3b-409c9af9afa1"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"5a36f0a4-1bbb-57ed-9450-4535e888784a","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:33","kind":"gallery","slug":"religious_life","legacy_host":"https://religious-life.museumwnf.org","name":"Religious life"},{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["en"]},{"id":"ed486397-6f2e-5e7e-898e-db4869717ed6","type":"object","internal_name":"Ferdowsi, *Shahnama* ('The Book of Kings')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:30","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 118","mwnf_reference":"AT4 30","start_date":1591,"end_date":1642,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/2caa5446-a62e-5f1a-ba13-4dc7b0ec38c7.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/afefe76f-27d1-504e-9256-1f98a1852c8c.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تبين الصفحة 1b-2a افتتاحية مزدوجة فاخرة الزخرفة، وتتضمن بداية القصيدة ضمن كتلة نصية من عمودين، كُتبت بخط أبيض داخل أشرطة سحابية على أرضية ذهبية، مزينة بأغصان وأزهار متعددة الألوان. ويبين كلٌ من الحيزين المخصصين لكتابة العنوان رصيعة ذهبية تحمل كتابة بخط الثلث الأبيض: \"كتاب شهنام للحكيم فردوسي من طوس، رحمه الله\". وتُحاط كلٌّ من كتلة النص وخرطوشتي العنوان بإطار يتألف من صفوف متناوبة من ميداليات ذهبية كبيرة وأشكال صغيرة ذهبية تشبه الألماس على خلفية زرقاء. وعلى الهوامش الخارجية، يظهر إطار عريض متعرّج باللونين الأزرق والذهبي، مزينًا بصفوف من المعلقات الماسية والأرابيسك والأزهار. كما تغطي الإضاءة الزخرفية كامل الزخاف النباتية متعددة متعددة الألوان والمتنوعة.","en":"Fol. 1b-2a shows a richly decorated double-page opening with the beginning of the poem in a two-column block of script in white cloud bands on a gold background with colourful flower tendrils. The two title cartouches each reveal a gold medallion with an inscription in white *thuluth* script: ‘The book Shahnama of the wise Firdausi from Tus, the mercy of God be upon him’. The text block and title cartouche are surrounded by a frame with alternating rows of large golden medallions and small, golden, diamond-like shapes on a blue background. On the outer margins, a wide blue and gold zigzag frame with rows of diamond pendants, arabesques and floral tendrils is depicted. The whole illumination is also covered by varied multi-colour floral decoration."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/8e389b53-1b8e-53b1-bd30-4e702e25c356.jpg","display_order":3,"alt_text":null,"captions":{"ar":"تبين الصفحة 1b-2a افتتاحية مزدوجة فاخرة الزخرفة، وتتضمن بداية القصيدة ضمن كتلة نصية من عمودين، كُتبت بخط أبيض داخل أشرطة سحابية على أرضية ذهبية، مزينة بأغصان وأزهار متعددة الألوان. ويبين كلٌ من الحيزين المخصصين لكتابة العنوان رصيعة ذهبية تحمل كتابة بخط الثلث الأبيض: \"كتاب شهنام للحكيم فردوسي من طوس، رحمه الله\". وتُحاط كلٌّ من كتلة النص وخرطوشتي العنوان بإطار يتألف من صفوف متناوبة من ميداليات ذهبية كبيرة وأشكال صغيرة ذهبية تشبه الألماس على خلفية زرقاء. وعلى الهوامش الخارجية، يظهر إطار عريض متعرّج باللونين الأزرق والذهبي، مزينًا بصفوف من المعلقات الماسية والأرابيسك والأزهار. كما تغطي الإضاءة الزخرفية كامل الزخاف النباتية متعددة متعددة الألوان والمتنوعة.","en":"Fol. 1b-2a shows a richly decorated double-page opening with the beginning of the poem in a two-column block of script in white cloud bands on a gold background with colourful flower tendrils. The two title cartouches each reveal a gold medallion with an inscription in white *thuluth* script: ‘The book Shahnama of the wise Firdausi from Tus, the mercy of God be upon him’. The text block and title cartouche are surrounded by a frame with alternating rows of large golden medallions and small, golden, diamond-like shapes on a blue background. On the outer margins, a wide blue and gold zigzag frame with rows of diamond pendants, arabesques and floral tendrils is depicted. The whole illumination is also covered by varied multi-colour floral decoration."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/86697eb6-fc30-5870-9f90-075b1e651f33.jpg","display_order":4,"alt_text":null,"captions":{"ar":"ضمن الأعمدة الأربعة للنص في الصفحة 17a، تُصوِّر لوحة شبه مستطيلة مشهد غرشاسب وهو يقتل تنينًا. في مشهد جبلي متعدد الطبقات، يظهر البطل في الجهة اليسرى وهو يطلق سهمًا نحو التنين الزاحف خارج كهف في أعلى اليمين. وقد صُوِّر التنين بحراشف سوداء، وأجنحة، وعينين، ونَفَسٍ ناريّ. في الخلفية، يبدو حصان غرْشاسب وكأنه يفرّ هاربًا، بينما يظهر رفيق له نصفُ مخفي خلف التل الكبير في الزاوية العلوية اليسرى، يراقب ما يجري في المقدمة. ويكشف الحيّز القطري في الجهة اليمنى عن وكر التنين بألوان رمادية وأشجار عارية، في حين تتسم مساحة البطل في المقدمة على اليسار بألوان أكثر دفئًا وتتميز بنباتات أكثر حيوية، مثل الأشجار ذات الأغصان الطويلة المورقة. وقد يوحي هذا التباين مسبقًا بالمعركة ونتيجتها.","en":"Within the four columns of text on fol. 17a, an almost rectangular painting depicts Garshasp slaying a dragon. Within a multi-layered mountainous landscape, the hero on the left shoots an arrow at the dragon crawling out of a cave at the top right. It is depicted with black scales and fiery wings, eyes, and breath. In the background, the horse of Garshasp appears to be running away, while a companion figure is half-hidden by the large hill in the top left corner and witnesses the scene unfolding in the foreground. The diagonal space on the right side shows the dragon’s lair, with grey tones and leafless trees; yet the foregrounded hero’s space on the left in warmer tones also features livelier vegetation such as trees with long leafy branches. This contrast may foreshadow the outcome of the battle."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e919c18f-1bfd-5fbc-940b-75fc0b728120.jpg","display_order":5,"alt_text":null,"captions":{"ar":"تبين الصفحة 29b الملك فريدون متوجًا في الحديقة، ومحاطًا برجال البلاط والخدم الذين يقدمون له الخمر. وتقع اللوحة متعددة الأضلاع في منتصف الصفحة. يتميز أرض الحديقة باللون الأخضر الداكن، مع جدول فضي صغير في المقدمة، بينما يشير الخلفية إلى ألوان أفتح ونتوءات فردية تظهر من العشب. في أسفل الجهة اليسرى، يظهر شخصان يرتديان خوذًا ويشربان الخمر، وفوقهما يقدم شخص يرتدي الأحمر كأسًا صغيرة ذهبية لفريدون، الذي يبدو أنه يمد يده لأخذها. يحمل الشخص الراكع إبريقًا أبيض في يده الأخرى، ويبدو أنه مستند على الأرض. أما الخادم إلى يسار الملك، فيمسك إناءً ذهبياً كبيرًا، كما تُعرض ثلاثة أوعية مماثلة على صينية أو سجادة عند قاعدة العرش.","en":"Fol. 29b shows King Faridun enthroned in the garden and surrounded by courtiers and servants who offer him wine. The polygonal painting is situated in the centre of the page. The dark-green ground of the kings’ garden features a small silver stream in the foreground, while the background is denoted by paler colours and individual tufts of grass. At the bottom left, two figures wearing helmets are drinking wine; above, a figure clad in red offers a small golden drinking cup to Faridun, who appears to be reaching for it. The kneeling figure holds a white jug in his other hand that seems propped on the ground. The attendant to the king’s left holds a large golden vessel; three of which are also displayed on a tray or carpet at the foot of the throne."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/67b16791-3d2b-5db5-8e4b-c346a861d112.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة 46a, تُصوَّر لوحة صغيرة مستطيلة سيمرغ وهو يعيد الصبي زال، ابن سام، إليه. ويركع سام بالدعاء في المقدمة، بجوار جدول وعلى أرض خضراء مورقة أمام مشهد جبلي. ينحدر سيمرغ من الأعلى، مع بروز ريش ذيله إلى الهامش، ويحمل الطائر الأسطوري الصبي زال على عنقه، الذي أنقذه سيمرغ وقام بتربيته عندما كان رضيعًا. ويلفت الانتباه إلى الدقة في تنفيذ الشخصيات وجودة تفاصيل درع سام. ويُصوَّر اللقاء بشكل حي وديناميكي من خلال الإيماءات الحميمة والتعابير الدقيقة لوجوه الشخصيات الكبيرة، ما يخلق إحساسًا بحسمية وجرأة الموقف.","en":"On fol. 46a, a small rectangular painting depicts Simurgh bringing Sam’s son Zal back to him. Sam kneels praying in the foreground next to a stream and a lush green ground before a mountainous landscape. Simurgh is gliding down from above, the bird’s tail feathers protruding into the margin. The legendary bird is carrying the boy Zal, whom Simurgh had rescued and brought up when he was an infant, on its neck. The minute execution of the figures and the detailed quality of Sam’s armour is noteworthy. The encounter is vividly and dynamically depicted through intimate gestures and delicate facial expressions of the large figures, creating a sense of bold immediacy."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/59c281f4-bd81-57a5-b568-9e158aa9dd94.jpg","display_order":7,"alt_text":null,"captions":{"ar":"صفحة الغلاف - تصور الصفحة 75a معركة رستم مع الشيطان الأبيض في لوحة شبه مربعة، مع بعض العناصر البارزة إلى الهامش. يصور المشهد في كهفًا مظلمًا، حيث يقتل البطل رستم المخلوق الشيطاني. يرتدي رستم القفطان المميز بنقش النمر والخوذة المخططة بالفهد، مع عناصر مذهّبة في درعه. أما الشيطان الأبيض، فيتميّز ببشرة أو فراء أبيض مرقط، وقرنين داكنين كبيرين، وعينين ناريتين، ويرتدي فقط مئزرًا يكشف أعضائه التناسلية. تشبه الأساور وعصابات الذراع اللامعة درع رستم، ومع ذلك قد تكون هذه اللمسات المذهبة أضيفت لاحقًا. أمسك البطل بالشيطان من أحد قرنيه، وبعد أن قطع ساقه اليمنى، غرِز خنجره في صدر الشيطان. في محاولة أخيرة يائسة للبقاء، أمسك الشيطان الأبيض برستم من ياقة درعه، وقد انزلق صولجانه الحجري الكبير من يد اليسرى. يُؤطَّر هذا المشهد الديناميكي المعبر للشخصيتين المتشابكتين بتضاريس الصخور داخل الكهف. خارج الكهف، يمكن رؤية حصان البطل، راكش، جزئيًا على اليمين. وعلى اليسار يظهر ملك المقاطعة أولاد، الذي أجبره رستم على إرشاده إلى الشيطان الأبيض، مربوطًا بشجرة تقع في الهامش.","en":"Fol. 75a depicts Rustam's fight with the White Div in an almost square painting with some elements protruding into the margin. The scene is depicted in a dark cave, where the hero Rustam kills the demonic creature. Rustam is wearing the characteristic tiger caftan and leopard helmet with gilded elements in his armour. The White Div, in contrast, has spotted white skin or fur, two large dark horns, and fiery eyes. He is wearing only a loincloth that reveals his genitalia. The glinting bracelets and armlets are similar to Rustam’s armour; however, these gilded accents may have been added later. The hero has grabbed the fiend by one of its horns, and, having already cut off its right leg, now lodges his dagger into the demon’s chest. In a last, desperate fight for survival, the White Div has in turn grabbed Rustam by the collar, its large stone mace has already slid out of the demon’s left hand. This expressively dynamic scene of the two entangled figures is framed by the rocky mountain terrain of the cave. Outside, the hero’s horse Raksh can be partially seen on the right. On the left, the provincial king Aulad, who Rustam forced to guide him to the White Div, is tied to a tree that is located in the margin."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d652dc78-77f2-57e8-a1b9-c25aae2870a2.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 128a، يظهر رستم وهو يقتل بيلسام، شقيق القائد العسكري للملك الطوراني، في لوحة مستطيلة ضمن كتلة النص. في مشهد جبلي صخري أرجواني، يقترب ثلاثة فرسان من بعضهم البعض، حيث يدخل الفارسان على اليسار اللوحة من الهامش. الفارس الرئيسي هو رستم، مرتديًا قفطان النمر المعروف وخوذة الفهد، على حصانه رخش. تم تصويره وهو يطعّن حصان بيلسام المسلح برمح مزين بعلم، بينما ينزف الحصان المصاب من صدره على الصولجان الموجود على الأرض. خلف رستم، يظهر رجل آخر مرتديًا درعًا كاملًا رافعًا صولجانه للهجوم. وفي الخلفية، نصف مخفي خلف التكوينات الصخرية، تظهر خمس شخصيات مختلفة القبعات، مثل الخوذ والتيجان والقبعات، حاملين الأعلام ويشيرون بأيديهم، وهم يشهدون المعركة في المقدمة.","en":"On fol. 128a, Rustam is shown killing Pilsam, the brother of the Turanian king’s military commander, in a rectangular painting within the text block. Within a purple rocky landscape, three horsemen are moving towards each other, the two on the left entering the  painting from the margins. The leading rider is Rustam with his typical tiger caftan and leopard helmet on his horse Raksh. He is depicted here spearing the horse of the armed Pilsam before him with a lance topped with a flag. The wounded horse bleeds out of its chest onto the mace on the ground. Behind Rustam, another man in full armour has his mace lifted to attack. In the background, half-hidden behind the rocky outcrops are five figures with varying headgears such as helmets, crowns, and hats, holding flags and gesturing while witnessing the fight in the foreground."},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/15a8ae07-d8cd-5949-9238-5712e35f3fcc.jpg","display_order":9,"alt_text":null,"captions":{"ar":"تظهر الصفحة 196a لوحة شبه مربعة ضمن كتلة النص، تُصور رستم وهو ينقذ بيزن من البئر التي سجّنه فيها الملك الطوراني أفراسياب عقابًا على حبه لابنة الملك، الأميرة منيجة. في وسط اللوحة، يظهر رستم مرتديًا قفطان النمر وخوذة الفهد، وهو يمد يده نحو حفرة في الأرض. يُصوَّر داخل الكهف مظلمًا، حيث يجلس بيزن على شي يشبه الوعاء، مقيدًا بسلسة حول عنقه. يُسحب إلى الأعلى بحبل رفيع ممسكًا به بكلتا يديه، ويُنقذ بواسطة رستم. في المحيط الصخري للمشهد، يظهر إلى اليمين رجلان مرتديان الدروع، وإلى اليسار تراقب الأميرة الطورانية منيجة المشهد، مشيرة بيد واحدة نحو فتحة الكهف، ورافعًا يدها الأخرى بحجابها بتعبير الدهشة. تلفت الانتباه بشكل خاص دقة تفاصيل الملابس وجودة تنفيذ التعابير الوجهية للشخصيات.","en":"Fol. 196a shows an almost square painting within the text block, depicting Rustam rescuing Bizhan from the well, where the Turanian king Afrasiyab has imprisoned him as punishment for his love of the king’s daughter, the princess Manizha. In the centre, the heroic figure of Rustam, clad in his tiger caftan and leopard helmet, is reaching into a hole in the ground. The interior is depicted to the viewer as a dark cave, in which Bizhan is sitting on a bowl-like contraption, to which he is chained to by the neck. He is hauled up by a thin rope, onto which he clings with both of his hands, saved by Rustam. Within the rocky landscape around them, two male figures clad in armour to the right witness this scene; to the left, the Turanian princess Manizha is watching, pointing to the opening of the cave with one hand, and having brought up her other veiled hand in wonder. Particularly noteworthy is the attention to detail in the figures’ garments and the fine execution of their expressive faces."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/777435ec-0ba3-5515-a982-6dadcce1d79d.jpg","display_order":10,"alt_text":null,"captions":{"ar":"الرسم المربع داخل كتلة النص في الصفحة 290a يصور المشهد الذي قتل فيه رستم إسفنديار بإطلاق سهم مسموم وشائك على عينه. كان إسفنديار، ابن ملك إيران جوشتاسب، مكلفًا من قبل والده بالقبض على رستم الجريء مع وعد بالحصول على العرش عند إتمام المهمة. يتلقى رستم مساعدة الطائر الأسطوري سيمورج، الذي يكشف له أن إسفنديار لا يمكن قتله إلا بسهم مصنوع من خشب شجرة معينة. يستخدم رستم هذا السهم لتعمية الأمير ثم قتله. في المقدمة، يظهر رستم وهو يسدد الضربة القاتلة، ويستقر السهم في عين إسفنديار، بينما يحاول الأمير إزالة السهم وقد سقط قوسه بالفعل على الأرض. يصوَّر رستم مرتديًا قفطان النمر وخوذة النمر في وضعية النصر، وذراعه اليسرى ما زالت متراجعة بعد إطلاق السهم. خلفهما، تحجب التلال العالية مجموعات متصارعة من المحاربين، يوجهون سهامهم المشدودة نحو بعضهم البعض. ومن الملاحظ أن وجوه الشخصيات وكذلك الحصانين يبدو أنها قد تم تلطيخها عمدًا.","en":"The square painting within the text block on fol. 290a depicts the scene where Rustam kills Isfandiyar by shooting a poisoned barbed arrow into his eye. Isfandiyar, the son of the king of Iran named Gushtasp, is tasked by his father to capture the defiant Rustam with the promise that he would get the throne upon this mission’s completion. Rustam receives the help of the legendary bird Simurgh, who reveals to him that Isfandiyar can only be killed by an arrow made of wood from a specific tree. Rustam uses the special arrow to blind and subsequently kill the prince. In the foreground, Rustam has delivered the fatal blow, and the arrow is lodged in Isfandiyar’s eye. While the prince tries to remove the arrow, his own bow has already fallen to the ground. Rustam, clad in his tiger caftan and leopard helmet, is depicted in a victorious stance, his left arm still drawn back from releasing the arrow. Behind them, half obscured by the high hills are opposing groups of warriors pointing their drawn arrows towards each other. Interestingly, the faces of the figures as well as of the two horses appear to have been deliberately smudged."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f773bd00-3572-52a4-8f59-e416926b6adb.jpg","display_order":11,"alt_text":null,"captions":{"ar":"في الصفحة 320a، تظهر لوحة مستطيلة ضمن كتلة النص تكشف عن إسكندر وجنوده وهم يقاتلون الأحباش. يتميز الحبشيون في الزاوية السفلية اليسرى بأنهم مجموعة مكونة من أربعة أشخاص ذوي بشرة داكنة ورمادية، يرتدون مآزرًا تكشف عن أعضائهم التناسلية. وهم مسلحون بالهراوات ويحاولون الدفاع عن أنفسهم ضد جيش إسكندر، المكوَّن من أربعة فرسان مسلحين بالأقواس والسهام، بالإضافة إلى الرماح والسيوف الطويلة. خلف الخلفية الصخرية، يوجد اثنان من عازفي البوق يشجعان الفرسان المنتصرين، وثلاثة شخصيات تشهد الحدث في أعلى اليمين. في هذا التكوين القطري المضغوط، تتضح نتيجة المعركة من خلال المواقف المتباينة والأسلحة المختلفة للقوتين المتصارعتين.","en":"On fol. 320a, a rectangular painting within the text block reveals Iskandar and his soldiers fighting the Abyssinians. The Abyssinians occupying the  bottom left corner are characterised as a group of four dark- and grey-skinned div-like figures wearing loincloths and exposing their genitalia. They are armed with clubs and try to defend themselves against Iskandar’s mounted army of four horsemen armed with bows and arrows as well as lances and long swords. Behind the rocky backdrop, two trumpet players cheer the victorious riders on, and three figures witness the action in the top right. In this compressed diagonal configuration, the battle’s outcome is clear in the contrasting stances and weaponry of the two opposing forces."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d36cd4a2-65d1-5a83-a2be-3cc9cf23347f.jpg","display_order":12,"alt_text":null,"captions":{"ar":"تظهر الصفحة 351b رسمًا مستطيلًا داخل كتلة النص، يصور مشهد العرش إلى جانب معركة تعكس رفض الإيرانيين لبهرام كحاكم لهم، ونتيجة لذلك ينخرطون في قتال فيما بينهم. تم تنصيب بهرام في منظر طبيعي على أرض خضراء تشبه الحديقة، حيث تم وضع العرش، مع تلال عالية مزروعة بنباتات متناثرة وعدد قليل من السحب الملفوفة في الأفق خلف المجموعة التصويرية. يقف خمس رجال مصطفون في نصف دائرة أمام بهرام، يقاتلون بعضهم البعض، مسلحين جزئيًا بالصولجانات والعصي والخوذ. وقد أصيب أحدهم بالفعل وسقط على الأرض، ممسكًا بالسلاح المغروز في كتفه. تم تنفيذ ملابس الشخصيات ووجوههم بدقة.","en":"Fol. 351b shows a rectangular painting within the text block, depicting a throne scene as well as a battle meant to reflect the Iranians’ rejection of Bahram as their ruler, and as a result engage in combat with each other. Bahram is enthroned in landscape with a green garden-like ground on which the throne is positioned, and high sweeping hills with sparse vegetation on a few rolling clouds in the distance behind the figural ensemble. Arranged in a semicircle in front of Bahram are five men fighting each other, partly armed with maces, sticks, and helmets. One person has already been hit and has sunken to the ground, gripping the weapon lodged in his shoulder. The figures’ garments and their faces are finely 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Casablanca 1912), an Italian anarchist worker who immigrated to Morocco in 1901","backward_compatibility":"mwnf3_sharing_history:sh_objects:awe:it:105","project_id":"0f031e22-6dc6-5ce6-b94b-9bb88345140c","partner_id":"28ecd84f-8e9b-5020-bb00-419f40e1e408","country_id":"ita","owner_reference":null,"mwnf_reference":"IT1 105","start_date":1890,"end_date":1905,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/1a2eb7f5-3184-5319-8091-07bdeb3b8637.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Archivio centrale dello Stato"}],"tag_ids":["8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","15026829-2fd2-55c3-b6a9-2ad8bc4d9aab","4d897f52-4c09-539f-97b5-621753724bbb","9f52c874-9f0c-5fa6-9591-c3b82d38de4d"],"dynasty_ids":[],"glossary_ids":[],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"a2ec5a6a-948f-53c6-b330-02eac4cab1c2","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:29","kind":"gallery","slug":"photographs","legacy_host":"https://photographs.museumwnf.org","name":"Photographs"}],"languages":["en"]},{"id":"c17d584d-4511-5578-a953-fcd5eb632aeb","type":"object","internal_name":"Jami, Maulana Nur ad-Din 'Abd ar-Rahman, *Yusuf u Zulaikha* (Yusuf und Zuleikha)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:23","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 108","mwnf_reference":"AT4 23","start_date":null,"end_date":null,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/7547fe39-3a65-53c4-a81b-9a2d6127e260.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/52406614-7804-5863-8821-8581f7235c6f.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol. 1b, the first page of the double frontispiece depicts the scene from the kinghood of Yusuf. The magnificent frame of palmette trefoils interspersed with floral vines and executed in blue, gold and red. Outside the frame, the blue decorations were added in the Ottoman period. Within a garden landscape and a backdrop with a central tree with autumnal leaves and two flanking cypresses, the two-year-old Yusuf is brought to his father Ya’qub who is sitting on a carpet in the centre. Both father and son have flaming haloes, contrasting them to the other figures depicted. In the foreground are other male figures, perhaps family members, who are standing and in cross-legged or kneeling positions, clad in yellow, red, and blue dresses, similar to the colour scheme of the frame."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4c91dfcb-f4af-569b-ab02-0d2b67ad82f1.jpg","display_order":3,"alt_text":null,"captions":{"en":"Fol. 2a shows the second page of the double frontispiece, depicting the abduction of Yusuf by his evil brothers. Before a central tree with autumnal leaves and two flanking cypresses, a group of seven men are moving towards the left. Their wide steps suggest they are in a hurry. One of them is carrying the small figure of Yusuf, clad in light blue and with a flaming halo sitting on his shoulders. The magnificent frame of palmette trefoils are interspersed with floral vines and executed in blue, gold and red."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/dbb22679-e313-5a39-a8cf-49372d488c99.jpg","display_order":4,"alt_text":null,"captions":{"en":"On fol. 2 b, the initial ornamental field (*’unwan, sarlauh*) opens the text. The rectangular title field incorporates an oval gold medallion and two light-blue pendants on the sides on a dark blue ground. In the centre, the title and the author’s name are written in blue *nasta’liq*. Above, a golden serrated medallion with a blue centre is interspersed with light-blue cloud bands and floral tendrils. It sits within a richly serrated, dark blue palmette motif. At the top, blue filigree ornaments project upwards. It is likely Ottoman from the late 16th or early 17th century."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2f6f95c3-e0da-57d5-9c78-2627b3cc66ac.jpg","display_order":5,"alt_text":null,"captions":{"en":"Fol. 59b depicts Yusuf being sold by a slave trader. The painting has an irregular, polygonal outline as the architecture of the bazaar extends into the inner and outer margins, while two lines of text at the top and one line of text at the bottom are visible. In this brightly coloured and richly decorated architecture, Yusuf is seated on a stool underneath an arch. He is wearing a bright red robe and a flaming halo. Under the gold scales on the right stands the merchant in blue and yellow clothing, gesturing lively towards the right. He is turning to the elderly woman who wants to buy the beautiful Yusuf for some plaited robes. Behind them, blue and red satchels are hanging on the wall. On the left, two eager buyers approach; to the right, Zulaikha rides in through a gate on a brown mule, in front of her a servant with a staff in his raised hand, perhaps announcing her presence. Her right, veiled hand is raised to her face, almost in a gesture of astonishment. Above her, only the head of one figure is visible from a window, witnessing the scene."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9181a4cb-fa00-5c75-adcb-b557d228b893.jpg","display_order":6,"alt_text":null,"captions":{"en":"On fol. 95b, the irregular, polygonal painting represents an elaborately decorated and brightly coloured architecture, within which Zulaikha hosts a banquet for the Egyptian women. One line of text at the top and the bottom are visible. Zulaikha is sitting in the background underneath an arch, dressed in a saffron-coloured robe on an elevation. Next to her is an Egyptian woman who is holding some kind of fruit and a knife, perhaps peeling an orange. Zulaikha has her left hand laid on the shoulder of the woman in an intimate gesture. Both women are looking at Yusuf, clad in red, having a flaming halo, and carrying a large golden wine jug. Both main figures are depicted larger than the others, such as the Egyptian women and Yusuf’s accompanying servant. The latter has his finger brought to his lips in a gesture of astonishment. In the immediate foreground, two other Egyptian women wield knives and hold fruits; however, they have cut their fingers while peeling the oranges, in shock and amazement at the beauty of Yusuf."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f40d83e6-d927-565c-a4b2-e94a218e51d5.jpg","display_order":7,"alt_text":null,"captions":{"en":"Fol. 124a depicts the wedding night of Yusuf and Zulaikha. The painting has an irregular, polygonal outline as the architecture extends into the inner and outer margins, while one line of text at the top and the bottom are visible. Yusuf and Zulaikha are resting underneath the covers on a golden bed within the richly decorated interior. Yusuf is wearing a fur-lined hat behind which the flaming halo is visible. He appears to be leaning in to kiss Zulaikha. In the immediate foreground, two silver (now oxidised) candlesticks are shown. In the background, a lady clad in yellow looks down at the couple from behind a half-opened door. On the left, two women also witness the scene from what appears to be a window in the palace exterior. Cut out and pasted in the margins, a figure of an elderly man as a doorkeeper in front of the palace gate is clad in purple robes with yellow sleeves, and is sitting on a golden stool and leaning on a staff."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/487a4aa7-25ac-5de0-b4ea-b3898ea3b7cf.jpg","display_order":8,"alt_text":null,"captions":{"en":"On fol. 142b, the first part of a double finispiece is depicting a hunt. The magnificent frame of palmette trefoils interspersed with floral vines and executed in blue, gold and red, similar to fol. 1b-2a. Within, a purple rocky landscape with grey-blue hills and a central leafy tree is the scenery of the hunting, which appears to be slightly symmetrical on both pages. Lively depictions of different animals such as gazelles, foxes, hares, and lions, among others, are shown. Two riders with bows and arrows shoot at the animals, while two figures witness the scene from behind the purple rocks. The finispiece has no apparent connection to the content of the text and is also pasted in after the colophon at the end of the book. It probably does not belong to the original decoration of the manuscript. It is painted in the style of the *Shirazi* school but could have been painted and glued on at the Ottoman court."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c66cf368-e2e2-57d8-83b4-74c96500bb31.jpg","display_order":9,"alt_text":null,"captions":{"en":"Fol. 143a, the second part of the double finispiece, depicts a hunt. The magnificent frame of palmette trefoils interspersed with floral vines and executed in blue, gold and red, similar to fol. 1b-2a. Within, a purple rocky landscape with grey-blue hills and a central leafy tree is the scenery of the hunting, which appears to be slightly symmetrical on both pages. Lively depictions of different animals such as gazelles, foxes, hares, and lions, among others, are shown. Two riders with bows and arrows as well as a lance kill the animals, while two figures witness the scene from behind the purple rocks. The finispiece has no apparent connection to the content of the text and is also pasted in after the colophon at the end of the book. It probably does not belong to the original decoration of the manuscript. It is painted in the style of the *Shirazi* school but could have been painted and glued on at the Ottoman court."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d2644c07-a5d8-5678-a890-5ca7c239397c.jpg","display_order":10,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["73629243-5724-5991-9444-5393f6b78050","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["29eaeead-971d-5ced-a2f3-a650a47f04ff"],"glossary_ids":["070e713b-f503-5f87-be41-16cb73c070b4","19ba2374-d3c1-58b9-9a5e-7c9421eb5612","34de20aa-0e07-573b-bdd7-f5b965cda195","811580e5-c0b8-5c27-8c10-3a3a36bee143","c98013e1-9336-5b90-9d71-2658cca1e0ca","f3052f85-4db5-5572-a790-f3dc9a248659"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"a0fd9b25-3128-5a5c-90c1-29e46c8df6bd","type":"object","internal_name":"Jami, Nur ad-Din ‘Abd ar-Rahman Ibn-Ahmad, Resaʾil-i Hazret-i Molla Jami","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:3","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 35","mwnf_reference":"AT4 03","start_date":1550,"end_date":1599,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/476644b6-a940-57d6-9ce7-b2966a2affe6.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/fde4dfcf-be35-564e-b731-8ffcb0bde3f2.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f247d3d6-fc6c-50be-8f55-2e7e463bfd1f.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["070e713b-f503-5f87-be41-16cb73c070b4","a054eff3-ab33-572b-8c6c-47a7d300c111","c77b27a2-a0b9-5b4b-903b-008ba93b0842","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"041d8737-02a0-59bb-bc07-61b8b3099fe9","type":"object","internal_name":"Jewelled Box and Manuscript (*Kitab al-Awrad*)","backward_compatibility":"mwnf3:objects:EPM:on:Mus21:44","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"c8825cec-041d-5069-bbce-82c394d5e619","country_id":"omn","owner_reference":"2020.11334, A","mwnf_reference":"OM1 44","start_date":1800,"end_date":1850,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/f65fca4e-4770-5cd2-8352-58b33f493b30.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"National Museum Oman"}],"tag_ids":["41731c32-973f-5fc8-b1a5-4ba4d883879d","948da355-bd1d-52a5-8a6b-d605931327a5","8f28215c-284d-5680-8235-477b003ec8c9","0e3ac004-1d90-5f5e-8d11-48dce1a11138","6c6706e2-03ad-581b-8458-9f863db19398","9730aa30-6a7d-550f-bf5f-a9292f650d1d","7a8e368b-e20a-5155-a840-cbeb1a4544bd","5bd3e884-d803-57d6-89e0-8b64adeda9fa","452f90e3-94b6-5a42-8488-d1cc810d7652","96c7d92c-0913-57dc-a389-318ebd0a0e33","9a0698ba-4635-51d0-b447-063d20187328","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["2cf9d6c6-0226-5c5d-8710-c052cc2ac4c7"],"glossary_ids":["44562f82-b0b6-5353-939a-47fccfb7fa3c","64d6c154-9408-5c99-93c4-4d53ffce9b15","aea62142-bf4f-5655-8c52-b1e856151ce7","d741661c-846f-560d-a11c-19720819ac9a"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"4c75a74c-9d5b-5901-a8ac-c97ee313b0f5","type":"object","internal_name":"Khwaja Kirmani, Mahmud Ibn-Ali, Humay u Humayun (Humay and Humayun)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:4","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"N.F. 382","mwnf_reference":"AT4 04","start_date":1402,"end_date":1453,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/cf2992a6-1d72-52cc-a2d6-f0bca7977698.jpg","display_order":1,"alt_text":null,"captions":{"en":"On fol. 1b, the decoration of the ornamental heading imitates Timurid style in red, orange, blue and gold and a small central golden medallion. This panel has probably been retouched in late 18th- or early 19th-century Turkey."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/ee95ea5a-9e28-5cdb-a17a-d9b757daa47e.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol. 67b, an ornamental panel signals the end of the book. The golden square is divided into different frames and vertical borders with arabesques and red-pink floral tendrils. They bear a rosette-shaped blue medallion with four circular extensions. Within this medallion, a central golden interlace star extends outwards into intricate golden arabesque configurations. Around this central form are cartouche shapes framed by green intertwined arabesque tendrils."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/cd187da5-9f6b-5d13-a767-a8877bf9ed72.jpg","display_order":3,"alt_text":null,"captions":{"en":"This full-page painting on fol. 10b depicts Humay beholding the image of Humayun in the Fairy (Pari) Palace. The typically richly decorated interior of a Timurid palace is shown through embellishments of gold, blue, light green, vermilion and white. Humay sits on a small golden throne in the middle of the picture and to his left and right are winged fairies standing in pairs. Above him hangs the image of Humayun, the daughter of the Emperor of China. As the story goes, Humay becomes so enchanted by her image that he falls in love with her. In the foreground, four additional fairies are playing music as seen in the bottom corners of the page, and in the centre is a table with drinking vessels. There are occasional cracks in the surface of the page, and some faces appear to have been rubbed off, particularly those in the lower left hand corner. Close connections can be established with a painting in an Iskandar anthology (BL Add. 27261, fol. 225b, British Library), while the later adoption of this composition for a different iconographic content is also apparent (H. 781, fol. 244b, Topkapi Sarayi)."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/39d7952c-3a77-518f-be7b-bb272742d62d.jpg","display_order":4,"alt_text":null,"captions":{"en":"This full-page miniature on fol. 32b depicts a hunt of Fagfur, the Emperor of China. The central action shows the emperor on horseback shooting an arrow that has pierced the hind leg and ear of a wild ass. Further up on the left, there are two escorts on horseback, one of whom holds an umbrella. The other horseman riding underneath the umbrella appears to have been (perhaps deliberately) rubbed off. Furthermore, on the right, placed frontally, is a mounted harpist and to his left are two people handling a drinking vessel and a cup. At the bottom, half-hidden by a rock, four men are watching two fleeing wild asses on the right. At the top-right corner, the cream- and violet-coloured desert and rocky landscape interrupt the painting frame, creating a gap in the rectangular frame of the text box. A few lines of verse are visible over the gilded sky on the left. Priscilla Soucek interpreted the hunting Emperor of China as Baysunghur, and the harpist on horseback as a portrait of the court musician and close friend of the Timurid prince, Yusuf Andakani (Yusuf Amiri). More broadly this composition offers a parallel to the frequently illustrated scene of Bayram Gur hunting with his lute player Fitna, for example as seen in MET 13.228.13.3 (Metropolian Museum of Art). It has been postulated that both paintings are derived from an unknown original model."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/baf821be-ead0-5897-aaaa-554f5e26d97a.jpg","display_order":5,"alt_text":null,"captions":{"en":"This full-page miniature on fol. 53a depicts Humay, who has been enclosed by Fagfur, the Emperor of China, in a palace surrounded by moats and walls. Humay looks sorrowfully out of a half-latticed window, above which is a calligraphed Arabic inscription: \"Long may your strength and endurance be preserved!\". Further to the lower right, above the iwan-like wide balcony or window, in which a maid and two servants are sitting, is written in *kufic* script in Arabic: \"To his (the palace's) owners happiness and well-being\". Above, there are two columns of the main text of the poem. The richly decorated and gilded palace in grey-blue and salmon-pink against a golden sky is surrounded by green and flowering trees and shrubs. Rocks also tower in the foreground, and a bridge leads across the (darkly oxidised) silver water of the moat to the closed pointed-arched gate of the castle wall crowned with battlements. Particularly in the lower part of the painting, the miniature is damaged by cracks which have caused the paint to chip off. A corresponding composition can be found in H. 796, fol. 155b (Topkapi Sarayi). 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أحمد بن قاسم قدور."],"media":[],"related_items":[{"id":"7ac3ea27-a8cb-553d-b1c3-19067190a3c3","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"كان علم الحديث يدّرس في المدرسة و كذلك جامعة القرويين.","en":"The science of the Hadiths was taught at *madrasa*s as well as at Qarawiyyin University.","fr":"La science des hadiths étaient aussi bien enseignées dans les *madrasa* qu’à l’université Qaraouiyine.","es":"La ciencia de hadices se enseñó en las *madrasas* y en la Universidad Qarawiyin."}}],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"9b989b53-9b7d-5857-8fea-c5edf077c94a","type":"object","internal_name":"Marriage 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document.","backward_compatibility":"mwnf3:objects:ISL:pa:Mus01:29","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"325b7505-1527-5442-99ea-6a40f8c43d3f","country_id":"pse","owner_reference":"321","mwnf_reference":"PA 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بن النقيب الحنبلي (كاتب الوثيقة)."],"media":[],"related_items":[{"id":"5afe91bf-fea8-55d3-82ee-a8b6233aab07","backward_compatibility":"mwnf3:monuments:ISL:pa:Mon01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"وجد في الحرم الشريف.","en":"It was found in al-Haram al-Sharif.","fr":"Trouvé au Haram al-Charif.","es":"El documento fue encontrado en Haram al-Sharif."}},{"id":"c1a3ba49-902b-5949-8d97-4621638aa6cb","backward_compatibility":"mwnf3:objects:ISL:pa:Mus01:30","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"أتت من نفس الأرشيف ومن نفس الفترة.","en":"It comes from the same archive and same period.","fr":"Provient des mêmes archives et date de la même période.","es":"Proviene del mismo archivo y es del mismo período."}}],"gallery_references":[],"languages":["ar","en","es","fr"]},{"id":"12361bbb-ac34-5bb3-bf6d-138428eac40a","type":"object","internal_name":"Maulana Jalal ad-Din Rumi (Maulawi), Diwan","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:6","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"Mixtus 155","mwnf_reference":"AT4 06","start_date":1416,"end_date":1466,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/9f5b377c-c7ba-5407-9228-06bdf7d845e8.jpg","display_order":1,"alt_text":null,"captions":{"en":"On fol. 3a, an oval medallion with pointed ends includes the title and poet's name in gold *nasta’liq*. The background colour of the medallion is predominantly a purplish blue, while its framing is interlaced by golden bands, and the arabesques are coloured in gold as well. Moreover, green vegetal bands were chosen to fill the background of the script panel and green closed arabesque forms also frame small black areas that produce a stark contrast to the overall colour scheme. Filigree blue rays surround the medallion causing the whole composition to resemble a dedicatory *shamsa*. A comparable medallion can be found in another 15th-century manuscript in the Topkapi Sarayi (R. 862)."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/a5169f06-c9dc-56ca-a218-1fc069fa1549.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol. 3b, the text of the Diwan begins with an initial ornamental panel (*'unwan/sarlauh*) and an ornamental angular *kufic* inscription within the central medallion which reads \"Allah, nothing is like him\". The colour scheme and decoration of fol. 3a persists onto this page through its prominent purplish blue as a background colour as well as the golden framing of the page. The medallion is inscribed within a rectangular panel with a gold frame around a blue interlace border, which spans around floral and geometric shapes before a black background. Above this panel, a horizontal border of arabesques in green, white, gold and red are positioned before a blue background, again with ray-like motifs sprouting upwards."},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["2003ec95-a720-51cb-9dcd-774d9dc9f389","3230cdd8-ec0e-5aa1-9b44-adc5716d86b8","5e33fb53-916f-516d-b614-5039d1c3c7ec","99e11148-863b-5916-afb5-d3b71fb5abe5","a0a0b21a-5425-5de1-8d04-b7fd7daeca8b","aea62142-bf4f-5655-8c52-b1e856151ce7","b8c40deb-d541-5941-870e-bbb5a22c7520","e99f9b90-c624-5aa1-815f-a47f478f7da3"],"artist_names":["شيخ الإسلام بن حسين بن زين الدين"],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"548a0da4-daad-5893-abb1-4453dabee1bc","type":"object","internal_name":"Maulana Shams ad-Din Muhammad ‘Assar at-Tabrizi, *Mihr u Mushtari* (Romantic epic of the friendship of Prince Mihr with the youth Mushtari)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:28","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 68","mwnf_reference":"AT4 28","start_date":1545,"end_date":1605,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/e1d46733-0e7d-588e-bb16-5b9a9866bf71.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2c47d724-bc51-5fe6-b6eb-ebd148a71f33.jpg","display_order":2,"alt_text":null,"captions":{"ar":"الصفحة 1b تظهر صفحة افتتاحية مزخرفة بزخارف غنية، تضم حقلًا زخرفيًا (عنوان، سارلوح) . وهذا الحقل الزخرفي من شريط أفقي ضيق يحمل العنوان مكتوب بخط النسخ الأبيض على خلفية ذهبية. في الأعلى، يوجد على تصميم الصفحة لوحة فنية مزخرفة بدقة تشبه السعفيات، مزينة بألوان ذهبية وزرقاء وحمراء وغيرها. تفصل الحوالق المزهرة النص إلى عامودين، مع نص من النقش الهندي على شكل قلب الغيوم على خلفية بيضاء من ورق أبيض. تحيط بهذه الاشكال تفرعات ملونة بألوان زاهية فوق خلفية ذهبية. كما تُزين الهوامش المحيطة في الوسط نقوش دقيقة من أوراق وأغصان  الكرمة الذهبية ذات رؤوس زهرية كبيرة.","en":"Fol. 1b provides a richly illuminated opening page with a decorative field (*’unwan, sarlauh*). This ornamental field consists of a narrow horizontal bar depicting the title in white *naskh* script on a gold background. Above, a high palmette-like intricate illuminated composition in gold, blue, red and other colours dominate the overall page layout. A band of flowering tendrils divides the two columns of text, which is inscribed in cloud-like shapes with blank paper background. Around these shapes surrounding the text, colourful flower tendrils are depicted in a gold background. The margins around the text block show delicate golden palmette vine designs with large flower heads."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f67af4d6-4cee-5988-96d8-38ce7070fa60.jpg","display_order":3,"alt_text":null,"captions":{"ar":"عل الصفحة 7a، تصور لوحة كاملة المعراج إلى السماء خلال رحلة النبي محمد الليلية. يوجد سطران من النص في الأعلى والأسفل يشكلان إطارًا للمشهد المصور بشكل حيوي على الصفحة. في وسط الرسم يظهر النبي محمد وحجاب يغطي وجهه، إذ يجب ألا تظهر ملامح وجهه. ويظهر وهو يمسك بلجام المطية \"البراق\" ذات الرأس البشري ويضعه على صدره، بينما تحيط بهما هالة من اللهب ترمز إلى قدسيتهما. أمام سماء الليل الزرقاء الداكنة ذات الغيوم الذهبية التي تمتد عبر الرسم، يظهر سبعة أشخاص مجنحين بملابس ألوانها زاهية تحيط بهم. يحملون أوعية متوهجة بنار ذهبية، ويظهر أحد الأشخاص أعلاها يصب محتويات وعائه على النبي في لفتة أنها الوحي. الشخص المجنح على اليسار أمام النبي محمد يحتمل أن يكون جبريل، الذي يحمل علمًا أخضر يمتد إلى الحافة العلوية، وهو يوجه النبي إلى السماء العليا. في الزاوية العلوية اليسرى يظهر وجه القمر كاملًا ناظرًا مباشرة إلى المشهد.","en":"On fol. 7a, the *mi'raj* or ascension into heaven during the Prophet Muhammad’s ‘Night Journey’ is represented in a full-page painting. Two lines of text at the top and bottom frame the vivid depiction transpiring on the page. In the centre of the painting, Muhammad is shown with a veil over his face, as the likeness of the Prophet should not be captured. He grips the reigns of his human-headed mount Buraq to his chest as a flaming aureole surrounds them, revealing their sacred nature. Before the dark blue night sky with golden clouds that stretches across the painting are seven colourfully dressed winged figures encircling them. They carry bowls with golden fire, with one figure at the top even pouring its contents over the prophet in a likely revering gesture. The winged figure on the left before Muhammad is possibly Gabriel/Jibril, who carries a green flag that extends into the upper margin, guiding the Prophet upwards to the Heavens. In the upper left corner, the full face of the moon is looking directly at the viewer."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9f45e2d1-cc1e-555b-8adb-c7f9efcc616f.jpg","display_order":4,"alt_text":null,"captions":{"ar":"تتضمن الصفحة 52a رسمًا يشغل صفحة كاملة يصور محاولة قطع رأس مشتري وبدر في محكمة شابور، التي أُحبطت في النهاية بتدخل بهزاد. يأمر شابور والد مهر الجلاد بإعدام رأس مشتري ومبعوثه بدر، لكن ابن أخيه بهزاد يتدخل لصالحهما. تحيط سطور النص اللوحة من الأعلى والأسفل.  يضم المشهد أشخاص عدة داخل غرفة العرش المزخرفة ببذخ بزخارف الزهور والاشكال الهندسية القرمزية والفيروزية. يرتدي شابور تاجًا مزخرفًا ومنديلًا، ويجلس متربعًا على عرش ذهبي مرتفع على اليمين. ينظر إلى بهزاد، الذي يرتدي لباسًا أخضر ويقف بين مجموعة من رجال البلاط، وكما تدل حركات ذراعيه فهو يتحدث بتأثر. اثنان من رجال البلاط الجالسين أمامه يلتفتون أليه وينظرون. في المقدمة أسفل اليسار، يرفع الجلاد سيفه ناظرًا إلى الرجلين المحكوم عليهما، وهما راكعان على سجادة أمامه، حاسرا الرأس ومعصوبي العينين. يرفع رجال البلاط المحيطون بهم أيديهم وهم منخرطون في نقاش حاد، إما نحو محور المشهد أو، كما هو الحال مع الرجال الثلاثة في أسفل اليمين، يتحدثون فيما بينهم. التسلسل الهرمي الواضح لشابور والرجال المعصوبي العينين مرتب بشكل جيد من خلال خط قري يفصل بين نظرة الحاكم والمحكومين، بينما يظهر الصخب النشط بين الحاشية والبلاط والسجاد بألوانها الزاهية المتنوعة.","en":"Fol. 52a includes a full-page painting depicting the intended beheading of Mushtari and Badr at the court of Shapur, which was ultimately prevented through Bihzad's intercession. Shapur, the father of Mihr, orders the executioner to behead Mushtari and his messenger Badr, but the former's nephew Bihzad intercedes on their behalf. The lines of text frame the painting at the top and at the bottom. The scene is populated by various people in a throne room lavishly decorated with purple and turquoise floral and geometric ornaments. Shapur, donning a decorated crown and a handkerchief, is seated cross-legged on a high golden throne on the right. He is looking at Bihzad, who is dressed in green. He is standing amongst a group of courtiers and, as his arm movements show, is speaking up impassionately. Two of the seated courtiers before him turn their heads and look up at him. In the foreground on the lower left, the executioner has his sword raised and looks down at the two condemned men kneeling on a carpet before him, whose heads are bared and blindfolded. The courtiers around them have their hands raised in lively discussion, and are either turned towards the mentioned focal points of the scene or, as is the case with the three men on the lower right, are conversing with each other. The distinct hierarchies of Shapur and the blindfolded men is well-composed by forming a diagonal line between the ruler’s gaze and the condemned, and the loud dynamic of the arguing courtiers is offset by the depicted murals, tiles, and carpets in various, vibrant colours."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/00d2fa3f-e1f1-5c1b-9cd6-a0f0ce25e5f0.jpg","display_order":5,"alt_text":null,"captions":{"ar":"تتضمن الصفحة 86a رسمًا بقياس صفحة كاملة مؤطرًا بسطرين من النص أعلى وأسفل المشهد. يظهر مشتري وأصدقاؤه مجبرين على ركوب سفينة على يد الشرير سيئ السمعة بهرام. أمام سماء ذهبية ومناظر طبيعية قرمزية، أُجبرت المجموعة على ركوب سفينة في بحر قزوين بعد محاولتهم الهروب في القافلة، لكن بهرام قبض عليهم أثناء ذلك. على اليسار، يظهر بهرام ممتطيًا جواده، بينما تظهر القافلة المهجورة مع بغالها إلى يمينه، شبه مختفية خلف الشراع الأبيض العالي للسفينة. ينظر إلى الأسفل رجلان يمنعان مشتري وصديقه من الهرب من السفينة، التي تعوم على مشهد مائي يعج بالأسماك. هناك مجموعة من الرجال يرتدون العمائم يجلسون أمام السارية الرئيسية، بينما يتسلقها شخص ذو بشرة رمادية وشعر أسود خفيف، ولا يرتدي سوى نوع من الإزار. في أعلى اللوحة، يمتد جزء منها إلى الحواف العلوية، حيث يجلس شخص مكتسي كليًا ومرتدي عمامة، يراقب الحركة والنشاط في الأسفل. وفي آخر السفينة يظهر بناء يشبه القلعة الخلفية، يتألف من عدة طوابق. في المستوى السفلي، تتحدث امرأتان محجبتان ترتديان الأبيض، بينما يشاهد رجل المشهد من الطابق العلوي، وقد يكون نائب القبطان. جميع الأشخاص الثلاثة يظهرون بأحجام تبرز نصف أجسادهم، بينما تظهر شخصيتان أصغر حجمًا في الطابق الأعلى بهيئة كاملة، ربما لإضفاء طابع هرمي، إذ يحتمل أنهم مسؤولون عن قيادة السفينة. تعكس الإيماءات والعناصر التركيبية مختلف جوانب المشهد بتفاصيل دقيقة. تدعو الشخصيات الظاهرة أعلى السارية، وكذلك خلف الصخور الأرجوانية في خلفية المشهد، المشاهد إلى التأمل في طبقات هذا التصوير المفعم بالحياة.","en":"On fol. 86a, the full-page painting, framed by two lines of text above and below the telling scene, shows Mushtari and his friends involuntarily having to board a ship by the evil slanderer Bahram. Before a golden sky and purple landscape, the group is forced onto a ship in the Caspian Sea after attempting to flee in a caravan but caught by Bahram in the process. On the left, Bahram is depicted on horseback, while the forsaken caravan with mules to his right is half hidden by the high white sail of the embarking ship. He looks down at two men restraining Mushtari and his friend from escaping from the ship, which is floating on a silver waterscape populated by fish. A group of men with turbans sit in front of the high mast, where a figure with greyish complexion, thin black hair and solely clad in a type of loincloth is climbing. At the top, extending into the upper margins, a fully clad figure with a turban is sitting and watching the hustle and bustle below. At the back of the ship, a structure reminiscent of an aftercastle with multiple levels is shown. On the lowest level, two veiled women clad in white are conversing, while a man witnesses the scene from the level above who may be representative of the captain. All three figures are depicted in half-body depictions, but two smaller figures on the highest tier of the structure, however, are illustrated as full-body figures likely in an attempt to create a sense of hierarchy, as they are possibly in charge of steering the ship. The various dynamics of the scene are expressed in great detail through gestures and compositional elements. The witnessing figures on top of the mast as well as behind the purple rocks in the background of the scene invite the viewer to take in the several layers of this lively depiction."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4065017a-9199-57aa-b15d-889e82887ec1.jpg","display_order":6,"alt_text":null,"captions":{"ar":"تصور معركة مشتري مع آكلي لحوم البشر في لوحة كاملة في الصفحة 92aو ويحيط بها سطران من النص في أعلى وأسفل المشهد. يظهر ثلاثة شبان خيالة، ذو ملامح رقيقة وملابس فروسية متقنة، يطاردون مجموعة من الرجال الضخام ذوي البشرة الداكنة، الذين يشبهون الوحوش. هؤلاء يرتدون مآزر تغطي عوراتهم، وغالبًا ما يضعون قلائد من الذهب وأساور وخلاخيل، ولا يملكون سوى العصي والحجارة. ينقسم المشهد إلى عدة مستويات: المقدمة الصخرية، تليها المنطقة الوسطى حيث تدور المعركة على أرضية قرمزية، ثم المنطقة خلف الصخور حيث يراقب أربعة رجال متوحشين المشهد ويتناقشون فيما بينهم، وبعدها يظهر مشهد السماء الزرقاء مع شجرة مورقة في الزاوية العلوية اليسرى. كانت نتيجة المعركة بين الشبان الثلاثة والوحوش السبعة آكلي لحوم البشر واضحة، فقد قُطع رأس أحد العمالقة، بينما يرقد آخر على الأرض تحت وطأة رفيقه، الذي أحكم أحد الشبان قبضته على رقبته. الفارس في الأعلى - يُرجّح أنه مشتري لأنه يرتدي تاجًا، يقطع رأس أحد المتوحشين بسيفه الطويل، بينما الفارس على اليسار في الأسفل يرفع سيفه بتهديد، مستعدًا لضرب أحد المتوحشين اللذين يتقربان منه من الخلف، أحدهما بالحجارة والآخر يشد ذيل الفرس. يعكس هذا المشهد العنيف والديناميكي التباين الصارخ بين الشباب الأقوياء في مظهرهم الراقي، وبين ترسانة الشياطين المتوحشة المحدودة، مما يؤدي إلى هزيمتهم الساحقة.","en":"Mushtari's fight with the man-eaters is shown in a full-page painting on fol. 92a, and is framed by two lines of text at the top and bottom of the image. Three mounted youths with delicate features and elaborate riding gear are charging against a group of wild, giant, div-like, dark-skinned men. The latter wear loincloths often bearing their genitalia as well as gold necklaces, armlets, and anklets. They are armed only with sticks and stones. The scene is divided into multiple registers: the rocky foreground, followed by the middle ground with the actual fighting on a purple ground, the zone behind the rocks where four man-eaters watch the scene and discuss amongst themselves, and the blue sky with a leafy tree in the upper left corner. The outcome of the fight between the three youths and the seven man-eaters is clear, as one giant is already beheaded, another one is lying on the ground being trampled on by his comrade, who is trapped in a headlock by one of the youths. The rider above – likely Mushtari as he is wearing a crown – is halving the head of one of the div with his long sword, while the rider on the left below has menacingly lifted his sword, ready to strike one of the two divs approaching him from behind, one with stones, the other pulling the horse’s tail. This brutally dynamic scene shows the stark contrast between the strong youths in elegant stances and the limited arsenal of the brutish demons, leading to their slaughter in a crushing defeat."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/981542ef-0f0b-5a61-a8f5-71959e2fa08f.jpg","display_order":7,"alt_text":null,"captions":{"ar":"تحيط الرسمة التي تشغل صفحة كاملة سطران من النص أعلاها وأسفلها في الصفحة 115a، وتصور الأمير مهر وهو يزور حمامًا. تزخرف اللوحة النابضة بالحياة حشد من الرجال في أوضاع وأنشطة مختلفة، يفصل بينهم قسمان معماريان. على اليسار، توجد غرفة انتظار تضم أشخاصًا يرتدون ملابسهم في مراحل مختلفة من الاستعداد للاستحمام.  في الأعلى، يُرجّح أن الأمير مهر يُصوّر وهو يخلع ملابسه بمساعدة شخص أصغر منه حجمًا. أمامهم في المقدمة، يجلس رجل على حافة المنصة وقد غطى رأسه بقطعة قماش، بينما يقوم شخص يُرجّح أنه خادم بغسل قدميه. في الأسفل، يوجد شخصان يتحادثان. أمام بركة الماء الصغيرة عند قاعدة العامود، يظهر شخص ضخم يرتدي مئزراً فقط ويحمل وعاءً في يده، ويرافقه شخص أصغر حجمًا، ويظهر الأول وهو يدخل الغرفة الرئيسية للحمام على اليمين. هذه الغرفة مكونة من قاعة كبيرة تؤدي إلى غرف أصغر في الخلفية. تصور هذه الرسوم مراحل مختلفة من الاستحمام والتنظيف، مجسدة ببراعة، بدءًامن حلق شعر الجسد والتدليك، وصولًا إلى سكب الماء على رأس المستحمّ.","en":"The full-page painting is framed by one line of text above and below on fol. 115a and depicts Prince Mihr visiting a bath, or *hamam*. The lively scene is populated by a multitude of men in different poses and activities, divided by two architectural units. On the left, an anteroom includes dressed figures in different stages of readying for a bath. At the top, Prince Mihr is likely depicted, undressing with the help of a smaller figure. In front of them, sitting on the edge of the platform, a man with a cloth draped over his head has his feet washed by a figure likely representing a servant. Underneath, two people are conversing. Before the small pool of water at the base of the column, a large figure only clad in a loincloth and holding a bowl in his hand is accompanied by a smaller figure, the former in the act of entering the main room of the bath on the right. This room consists of a larger hall leading into individual niches in the background. The figures are shown in different, vividly rendered phases of bathing and trimming, from shaving body hair and being scrubbed down to pouring a bowl of water over one’s head."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9782037a-6358-5e51-b46d-cf97317155f8.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 136a يظهر رسم بقياس صفحة كاملة يصور مباراة البولو بين الأمير مهر وكيوان خوارزم، مؤطرة بسطرين من النص في الأعلى وسطر واحد في الأسفل. يتقابل فريقان متنافسان، يتألف كل منهما من ثلاثة فرسان، حاملين مطارق خشبية طويلة في المقدمة. الشخصان اللذان يتقاطعان بمطرقتيهما في المنتصف هما مهر وكيوان، وكلاهما يحاول ضرب الكرة الذهبية الصغيرة الموضوعة على أرضية باللون الأخضر الزيتوني. في المحور المركزي خلفهما، يظهر هدف يتألف من عمودين. حول الهدف، تظهر شخصيات متفرجة في مجموعات صغيرة، بالإضافة إلى موسيقيين اثنين: أحدهما يحمل طبلًا كبيرًا، والآخر يحمل زوجًا من الطبول الصغيرة، في حركات متنوعة وأزياء زاهية الألوان.","en":"On fol. 136a, the full-page painting depicts prince Mihr's polo match with Kaiwan of Khwarazm, framed by two lines of text at the top and one line of text at the bottom of the image. The two opposing teams of three riders each confront each other with raised long-handled wooden mallets in the foreground. The two figures crossing their mallets in the centre are Mihr and Kaiwan, both trying to hit the small golden ball laying on the olive-green ground. In the central axis behind them, a goal consisting of two poles is depicted. Around this goal, onlooking figures in small groups as well as two musicians, one with a pair of large kettledrums and the other with a pair of small ones, are captured with varying gestures and a vivid array of multi-coloured costumes."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/cb670c39-37e3-5873-84d4-bb531dce2531.jpg","display_order":9,"alt_text":null,"captions":{"ar":"تصور الصفحة 164a مشهد معركة بين الملك كيوان وجيش قَره خان، في رسم يشغل صفحة كاملة. تدور أحداث المعركة على أرضية وسطى بلون قرمزي مائل إلى الرمادي، تتقدّمها خلفية مصفّرة، حيث تتقاطع ثلاثة صفوف من الفرسان على خيول مدرّعة جزئيًا في صراع دموي محتدم. يرتدي الفرسان الخوذ، ويضع بعضهم دروعًا تحمي الأذرع والسيقان، ويخوضون القتال مستخدمين الأقواس والسهام والسيوف الطويلة. خلف الحدّ الصخري العلوي، يتمركز حَمَلة الرايات، وتبرز أعلامهم في الهوامش العليا للمشهد. وفي المقدّمة القريبة، يظهر عازفا بوق يبدو أنهما يشجّعان القوة الغالبة. يمكن تمييز المجموعة المعادية من خلال اختلاف خوذها أو غيابها، إذ يهاجم الفرسان المدرّعون في الصفين العلوي والسفلي مقاتلين بلا دروع أو خوذ، يمتطون خيولًا غير مدرّعة. يرتدي هؤلاء المقاتلون المنهزمون ألبسة صفراء، وقد شُطر رأس الرجل في الصف العلوي إلى نصفين بسيف طويل، بينما حُوصر الرجل في الصف السفلي بين رامٍ للسهام ومبارز بالسيف، وقد استقرّ سهم في صدره، ينزف منه الدم. كما يظهر مقاتل آخر وقد لقي حتفه، حيث سُحق الجزء العلوي من جسده تحت حوافر الخيول الراكضة. ويتكرر المشهد ذاته في المقدّمة، حيث دُهس رجل بلا خوذة تحت أقدام الخيول المدرّعة. غير أن المشهد الأوسط يعرض فارسًا يحمل رمحًا طويلًا يطعن خصمًا يرتدي خوذة مماثلة، بينما يرفع هذا الأخير سيفه إلى اليمين. وبذلك، تتداخل مظاهر القوتين المتصارعتين، مما يجعل تمييزهما أمرًا صعبًا، ويضفي على مشهد المعركة قدرًا من التشويش والتعقيد البصري.","en":"Fol. 164a depicts the battle of King Kaiwan with the army of Qara Khan in a full-page painting. Before a purple-grey middle ground and yellowish background, in three intersecting rows of horsemen on partly armoured horses, dense combat is taking place. The riders wear helmets, some also arm and leg splints, and fight with bows, arrows and long swords. Tucked behind the upper-rocky threshold are the flag bearers, with their flags protruding into the upper margins. Nearby, two trumpet players seemingly cheer on the winning force. The opposing group may be distinguished by their helmets or lack thereof, as armoured riders in the upper and lower rows attack figures who lack any armour or headdress, and are mounted on bare horses. These unfortunate figures are wearing yellow garments; the head of the uppermost cleaved in half by a long sword, while the one at the bottom is cornered by an archer and a swordsman, an arrow already lodged in his chest, from which blood is dribbling down. Another man has already been slain, his severed upper body being trampled on by the galloping horses. A similar sight is presented in the foreground, a man without helmet is being run over by the armoured horse. Yet, the scene in the centre shows a horseman with a long lance stabbing a figure with similar headgear and a raised sword on the right. As such, the opposing forces are not easily distinguishable, adding to the confusion and complexity of the battle scene."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/358259b4-b447-56bc-9fa0-395e96c3d8aa.jpg","display_order":10,"alt_text":null,"captions":{"ar":"الرسم منفَّذ على صفحة كاملة، ومؤطَّر بسطر واحد من النص في الأعلى والأسفل. وتُظهر الصفحة 189b مشهد احتفال بزفاف الأمير مهر والأميرة ناهد داخل جناح الحريم في القصر. يزدان الفضاء الداخلي بزخارف هندسية ونباتية متنوّعة، تتوزّع على السجاد والبلاطات واللوحات الجدارية، مع سيطرة تدرّجات اللونين القرمزي والأزرق. في النصف العلوي من التكوين، تظهر ناهد جالسة على عرش واسع، موجّهة نظرها نحو مهر الذي يدخل من الجهة اليمنى قادمًا من غرفة مجاورة، بينما يرافقه الخدم لإرشاده. أمّا النصف السفلي فيضمّ مجموعات من النساء المصوَّرات في أوضاع متعدّدة، ينخرطن في الحديث، تقديم الطعام، الرقص، أو العزف الموسيقي. في الزاوية العليا اليسرى، تقدّم إحدى النساء وعاءً ذهبيًا ضحلًا يحتوي على حبّات رمان وفواكه أخرى. في الأسفل، يظهر موسيقي يعزف على القيثارة، بينما يرافقه آخران يقرعان الدف. وفي مركز المشهد، ترقص امرأتان تحملان مناديل، تحيط بهما شمعتان مضاءتان موضوعتان في حامل قنديل (شمعدان). إلى الجهة اليسرى، تُرى ثلاث نساء يرفعن أيديهن في حركة تعبّر عن بهجة احتفالية واضحة. في المقدّمة، وُضِع وعاءان من الخزف الأزرق والأبيض مزوّدان بأغطية، مع ظهور ثلاثة أوعية مماثلة أخرى أسفل العرش، وهو عنصر زخرفي يضفي على المشهد طابعًا ملكيًا غنيًا بالفخامة والرقي.","en":"The full-page painting, framed by one line of text at the top and bottom, on fol. 189b shows the wedding feast of Prince Mihr and Princess Nahid in the harem of the palace. The interior is decorated with different geometric and floral designs on carpets, tiles, and wall paintings, mostly in shades of purple and blue. In the upper half of the painting, Nahid is sitting on a wide throne and looks at Mihr to the right, whom servants are guiding in from a different room. In the lower half, groups of women are depicted in groups conversing, presenting food, dancing, or playing music. The woman at the top left is presenting a shallow golden bowl with pomegranates and other fruits. Underneath, one musician plays the harp while two others play the tambourine. Centrally, two women are dancing with handkerchiefs, flanked by two lighted candles in metal candle sticks. On the left, three women have raised their hands in apparent festive cheer. In the foreground, two bowls of blue and white ceramics with lids – with three examples also visible at the foot of the throne – add to the luxurious courtly atmosphere."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9cbd1b98-ff37-5b0c-8040-3ed9aa14d2de.jpg","display_order":11,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["73629243-5724-5991-9444-5393f6b78050","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["29eaeead-971d-5ced-a2f3-a650a47f04ff"],"glossary_ids":["1a911f25-2169-5473-b48f-e5e9bf7e6aff","5cc4d556-5ce6-575d-a50b-a403e6c59d4f","811580e5-c0b8-5c27-8c10-3a3a36bee143","8f750e3f-a3f4-5b39-8f9c-97cbf1eb56ec","9a8096ea-a204-590a-8744-2ddf28c2b6b8","b96fb0ed-83cb-5316-ab1d-f4e286f25845","c2953466-916b-57e9-9f3b-409c9af9afa1","f3052f85-4db5-5572-a790-f3dc9a248659","ffd69886-00a2-5968-b0e0-16249a1412eb"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"},{"id":"e7ab71b7-4e32-5d7e-88bc-6dbffbaa4bb2","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:52","kind":"exhibition","slug":"the_table_is_set","legacy_host":"https://exhibitions.museumwnf.org","name":"The Table Is Set"}],"languages":["ar","en"]},{"id":"5d530e40-18f0-5e71-b689-999b1ed68ae4","type":"object","internal_name":"Medical prescription.","backward_compatibility":"mwnf3:objects:ISL:eg:Mus01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3","country_id":"egy","owner_reference":"9971","mwnf_reference":"ET 27","start_date":1400,"end_date":1500,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/39ed73b9-6cca-5c25-ac1b-850f72ad2c19.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":["e964533f-5908-5365-8d9d-aef12a9ec695","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","97409808-f356-5c63-966c-de6909f00e2d","29373c9d-6b7b-522a-9dac-bd813ed90029"],"dynasty_ids":["cc058ff2-1729-58a0-be91-e1ac612c1fe2"],"glossary_ids":["0ad8de69-3a63-53bc-8e1b-4c6cae853bca","0f3fb66d-a491-591b-a0c2-56e11ec481aa","3230cdd8-ec0e-5aa1-9b44-adc5716d86b8","38031924-6b4f-5fb1-9337-c0222f9b16d2","53d47884-ba36-5979-a58f-ff35b0bd8587","5f7e8640-1f2b-52a9-a589-f51ed84f4b50","8ffa05a8-a165-5e2c-b72e-27e8d5f953ac","aea62142-bf4f-5655-8c52-b1e856151ce7","c18561f3-9ed2-5c21-92a7-c3476d781d57","c2953466-916b-57e9-9f3b-409c9af9afa1","d741661c-846f-560d-a11c-19720819ac9a","e99f9b90-c624-5aa1-815f-a47f478f7da3","f8abb38d-e51e-5fc5-9493-dc1508482dcf"],"artist_names":[],"media":[],"related_items":[{"id":"3097847c-f8ed-51cf-95df-cdaec2b9893a","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مستشفى يعالج جميع طبقات المجتمع.","en":"A hospital where all sectors of society were treated.","fr":"Ces bâtiments ont été construits pour soigner les gens du peuple et leur fournir des médications. À leur nombre, le *bimaristan* (hôpital) de Qalawun, où l’on soignait des malades de toutes les classes sociales.","es":"Un hospital donde todos los sectores de la sociedad recibían tratamiento."}},{"id":"34df1c16-bb7b-5506-b850-656c4bb0f8aa","backward_compatibility":"mwnf3:monuments:ISL:eg:Mon01:15","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مجمع يضم مستشفى يعالج جميع طبقات المجتمع.","en":"The complex includes a hospital where all sectors of society were treated.","fr":"Ces bâtiments ont été construits pour soigner les gens du peuple et leur fournir des médications. 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The rectangular text block consists of heading panels with red *thuluth* script at the top and bottom, and a black text before a golden within a square format. Around this text, the floral border of gold arabesques with red medallions before a blue ground reflects the same decorative colour scheme of the title panels and the marginal decoration. Overlapping serrated arches in red, blue and gold extend toward the top where reflections of the same ornaments on a blue background reside, incorporating floral buds in white and yellow. The lateral and lower margins are connected through a broad golden background with floral spiralling vines incorporating richly profiled blue quarter- and half-medallions as well as small dark red palmette medallions in alternating rows. The delicate golden trefoil row on the outer rim of this border is reminiscent of a ray pattern."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/0af027c5-321d-5145-bab2-b12de4ca85c1.jpg","display_order":2,"alt_text":null,"captions":{"en":"On fol 1b-2a, the symmetrical double-page opening is almost entirely gilt and covered with delicate floral designs within and outside of the text block. The rectangular text block consists of heading panels with red *thuluth* script at the top and bottom, and a black text before a golden within a square format. Around this text, the floral border of gold arabesques with red medallions before a blue ground reflects the same decorative colour scheme of the title panels and the marginal decoration. Overlapping serrated arches in red, blue and gold extend toward the top where reflections of the same ornaments on a blue background reside, incorporating floral buds in white and yellow. The lateral and lower margins are connected through a broad golden background with floral spiralling vines incorporating richly profiled blue quarter- and half-medallions as well as small dark red palmette medallions in alternating rows. The delicate golden trefoil row on the outer rim of this border is reminiscent of a ray pattern."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/5b20b2e2-f87b-5b52-9338-b72a83d8680a.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/bb10ef7c-3c43-517e-ae17-94a6ca14d49e.jpg","display_order":4,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6a2d9664-dcae-58bd-a4d7-c9ae4a455a6e.jpg","display_order":5,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["780c84e7-9e35-5790-8d92-ed1f8001145c","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["c5abff43-0a64-5d3e-a98d-f36a6d133d0e"],"glossary_ids":["44562f82-b0b6-5353-939a-47fccfb7fa3c","a63b6fb1-4ed2-5e10-a649-69af7e23c299","e99f9b90-c624-5aa1-815f-a47f478f7da3","ea137b2c-4b18-5db2-bba2-703e333c897d","ffd69886-00a2-5968-b0e0-16249a1412eb"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"5483dab5-d84f-5427-be2a-f5641e4aecc1","type":"object","internal_name":"Monthly revenues deriving from the traffic of boats through the Suez Canal sent by the consul of the Austro-Hungarian Empire in Port Said (Egypt) to the Commodities Exchange of Trieste","backward_compatibility":"mwnf3_sharing_history:sh_objects:awe:it:55","project_id":"0f031e22-6dc6-5ce6-b94b-9bb88345140c","partner_id":"e4d6eb3a-21a4-5299-a027-9e5b305d4232","country_id":"ita","owner_reference":null,"mwnf_reference":"IT1 055","start_date":1870,"end_date":1880,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/b620378b-3ed8-5084-8013-056fb858bee9.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Archivio di Stato di Trieste"}],"tag_ids":["15026829-2fd2-55c3-b6a9-2ad8bc4d9aab","2e15fd6d-5449-5d83-91b8-06dda05e418b"],"dynasty_ids":[],"glossary_ids":[],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["en"]},{"id":"74c8d2f0-d499-5753-a385-cea7dbf6cb7a","type":"object","internal_name":"Muhammad Jandarajizada (?), *Muraqqa'* (Album)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:24","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"Mixtus 313","mwnf_reference":"AT4 24","start_date":1547,"end_date":1597,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/7ddaf488-2847-5197-9ec9-bc8d5ccb6bce.jpg","display_order":1,"alt_text":null,"captions":{"ar":"في الصفحة 2b، يظهر بداية نقش الإهداء للسّلطان مراد الثالث، ويعود تاريخه إلى إسطنبول وحوالي 1572–1574. يتكوّن الإطار من تصميم زهرّي مصاغ بعناية على خلفية زرقاء بدرجين من الذهب. يحيط حدود بها كارتوشات زهرية وردية حدود أخرى مكوّنة من زخارف متشابكة ذهبية، والتي تأطر كارتوشين مستطيلين للعنوان في أعلى وأسفل مربع مركزي يحتوي على لوحة دائرية منقوشة. كُتب النقش بخط النسخ الأسود داخل شرائط سحابية بيضاء، باستثناء آية من القرآن واسم السلطان المكتوبين بخط ذهبي.  بين هذه الشرائط، تُصوّر زهور وردية على خلفية ذهبية بين أشكال السحاب، وتُستخدم دوائر زرقاء كعلامات ترقيم. حول إطار الزخارف الذهبية المتشابكة، زُينت الأرباع الأربعة بأرابيسك ذهبي، وتُظهر الكروم الزهرية متعددة الألوان على خلفية زرقاء، كما هو واضح أيضاً في الكارتوشات المستطيلة. من المرجح أن صفحة الإهداء المزدوجة أُعدّت على يد صانعي الألبوم المذكورين في الصفحات 5a-5b، محمد جندراجزادَه وخطّاط الحيدر الحسيني، بعد اعتلاء مراد الثالث العرش، إذ تُكرّمه بصفتِه الحاكم الحالي.","en":"Fol. 2b features the beginning of the dedication inscription to Sultan Murad III, dating to Istanbul and around 1572-74. The frame board consists of a finely modelled floral design on a blue background in two shades of gold. A border with pink floral cartouches encompasses another border consisting of gold interlace, which frames two rectangular title cartouches at the top and bottom of a central square inscribed with a circular panel. The inscription is written in black *naskh* script in white cloud bands, except the verse of the Qur’an and the sultan’s name that are written in gold script. In-between, pink blossoms are shown on gold ground between the cloud shapes, and blue roundels are used as punctuation marks. Around the gold interlace frame, the four spandrels are decorated with golden arabesques and multi-coloured blossoms on flowery vines are shown on a blue background, also visible in the rectangular cartouches. The dedication double-page was probably made by the two makers of the album mentioned on fol. 5b-5a, Muhammad Jandarajizada and the calligrapher Haidar al-Husaini after Murad III ascended the throne as it pays homage to him as the reigning ruler."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c06d5396-6cb1-5cd9-bfdb-556accdd75e6.jpg","display_order":2,"alt_text":null,"captions":{"ar":"في الصفحة 4b، يظهر فن الخط المقصوص لخطاط محمد طاهر، المؤرخ سنة 961 هـ / 1553–1554 م في إسطنبول، ضمن لوحة إطار باللون الوردي الفاتح مزينة بشبكة ذهبية وتصميم زهري. داخل إطارات مستطيلة متعددة بألوان مختلفة، تم قص خطوط النسخ والنستعليق من ورق أبيض وأصفر على خلفية ورقية زرقاء داكنة. النص موضع بشكل مائل وعمودي، ويشمل آيتين من غزل للشاعر جَامِي. تشتمل الزوايا على أشكال صفراء على خلفية زرقاء مزينة بأغصان زهرية متعددة الألوان في الأعلى. تتضمن الزاوية العليا اليمنى مدحاً لله («هو الملك الكريم»)، وفي الزاوية السفلى اليسرى كُتب: «قصّه العبد محمد طاهر، المجدّد العظيم للكتب، سنة 961» (هـ/1553–54 م). ومن المحتمل أن يكون هذا هو المجلّد المعروف باسم محمد جلبّي، الذي يُقال إنه كان المجلّد الرئيسي للسلطان سليمان القانوني و/أو سليم الثاني.","en":"On fol. 4b, the paper-cut calligraphy of Muhammad Tahir, dated to 961 AH/1553-54 AD in Istanbul is visible within a frame board of light pink with a golden lattice and floral design. Within multiple rectangular frames in various colours, the *naskh* and *nasta’liq* scripts are cut out of white and yellow paper on a dark blue paper ground. Pasted diagonally and vertically, the text includes two verses of a ghazal by Jami. The corner fillings include yellow shapes on a blue ground with polychrome flowery vines on top. The upper right-hand corner includes a praise of God (*huwa al-malik al-karim*), and on the lower left-hand corner, the following is written: 'Cut out by the servant Muhammad Tahir, the magnanimous bookbinder, in the year 961' (AH/1553-54 AD). This could be the bookbinder named Muhammad Jelebi, who is said to have been chief bookbinder to Sultan Suleiman the Magnificent and/or Selim II."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/b58f6dfc-0306-5ed3-845c-a5b4c30ca274.jpg","display_order":3,"alt_text":null,"captions":{"ar":"صورة الغلاف: الصفحة 5a تتضمن لوحة لملاك، يُرجح أنها من نحو 946–950 هـ / 1539–1543 م، ومنفذة في تبريز. إطار اللوحة مشابه للصفحة 4b،  باللون الوردي الفاتح مع شبكة ذهبية وتصميم زهري يحيط بعدد من الإطارات المستطيلة الملونة حول اللوحة المركزية. الملاك ذو الشعر الأسود، والمصفف بتسريحة معقدة مرفوعة، يرتدي عباءة ذهبية مبطنة بفرو بني فوق ثوب برتقالي، وملابس داخلية رمادية وسروال مخطط باللونين الأزرق والأسود، مزين بأغصان زهرية، بالإضافة إلى مجوهرات وخرز لؤلؤي. الأجنحة المروحية المنتشرة باللون الأزرق الفاتح ذات نهايات ريشية وردية تبرز قليلاً فوق الإطارات. يحمل الملاك في يده كل من منديل وزهرة واحدة مرفوعة إلى وجهه كما لو كان ينظر إليها أو يشم رائحتها. تُرسم صور فردية لسيدات جميلات أو ملائكة أو حوريات بشكل متكرر في الأعمال الفارسية في القرن السادس عشر. من الناحية الأسلوبية، يرتبط هذا الملاك ارتباطًا وثيقًا بالملاك في لوحة المعراج من خمسة أعمال لنظامي (المكتبة البريطانية، Or. 2265، الصفحة 195ر). السجادة التي يجلس عليها الملاك باللون البنفسجي الوردي ومكتظة بالألوان، ومن المحتمل أن يكون ذلك نتيجة إعادة تلوين لاحقة أو إضافة للوحة في وقت لاحق. علاوة على ذلك، تم تحديد ملامح الأنف والفم والذقن بالقلم الرصاص من قبل يد لاحقة، وفوق الرأس يوجد أثر لصق ورقي، ربما من ترميمات قديمة تعود إلى القرن الثامن عشر.","en":"Fol. 5a includes the painting of an angel, likely from c. 946-50 AH/1539-43 AD, made in Tabriz. The frame board is the same as fol. 4b, with light pink with a golden lattice and floral design surrounding the multitude of coloured rectangular frames around the central painting. The black-haired angel with an elaborate tied-up hairdo is wearing a gold cloak with brown fur lining over an orange dress, a greyish undergarment and blue- and black-striped trousers decorated with floral tendrils, as well as gold jewellery and pearls. The fanned-out, light-blue wings with pinkish feathery ends protrude slightly over the frames. The figure is holding both a handkerchief as well as a single flower raised to the face as if to look at it or smell it. Single portraits of beautiful ladies, angels, or peris are frequently painted in Persianate works in the 16th century. Stylistically, this angel is closely related to those in the *mi’raj* painting of a Khamsa of Nizami (British Library, Or. 2265, fol. 195r). The carpet on which the angel is sitting is purple-pink and densely coloured, therefore it is likely a result of overpainting or a later addition to the painting. Additionally, the nose, mouth and chin are outlined in pencil by a later hand, and above the head is a paper glue spot, which may be old restorations from the 18th century."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/251178b0-84e0-5c82-a2d7-cf92063c0225.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في الصفحة 6a،  الجزء الثاني من مقدمة الألبوم، الذي يوضح إنشاء الألبوم استكمالًا للصفحة 5b، مكتوب داخل إطار مزدحم بالزخارف. النص داخل الميدالية الكبيرة مكتوب بخط كبير في سنة 980 هـ / 1572-73 م في إسطنبول. الزوايا المزخرفة بالأرابيسك باللون الأزرق ودرجتين من الذهب مغطاة بشبكة من الكروم الزهرية. المقدمة مكتوبة بخط نسخ ثلث باللون الأسود مع إبراز أسماء معينة بالذهب. الحروف منقوشة على شرائط سحابية بيضاء، والفواصل بين الحروف مرقطة باللون الأحمر. الإطارات باللون الأصفر والأزرق والذهبي تحتوي على أشرطة متشابكة وميداليات مستطيلة، مزينة بالزهور. لوحة الإطار تعرض حدودًا من ثلاثيات أوراق النخيل الذهبية على خلفية زرقاء داكنة تحتوي على كروم ذهبية بدرجات مختلفة. على الهامش الخارجي يمتد تصميم غني ومفصل على شكل سعفة نخيل خارج الحدود المسننة الذهبية، مزين بأزهار حمراء وزرقاء. يبدو أن ملامحه وخلفيته الزخرفية قد تم ترميمها باللون الأزرق في القرن الثامن عشر.  تشمل المقدمة نفسها تمجيدًا وتوضح فوائد الخط باستخدام نماذج تشكل غالبية محتويات الألبوم، بالإضافة إلى تفاصيل نشأة الألبوم. الاقتباسات القرآنية والأحاديث مكتوبة بالذهب للتمييز البصري. الجزء الأول هو نسخة مباشرة من مقدمة ألبوم خط صفوي (Topkapi Sarayi H. 2156) ومقدمة تيمورية من القرن الخامس عشر، مما يشير إلى تقليد نوع مقدمة الألبومات ضمن ممارسة صناعة الألبومات. الجزء اللاحق من النص يذكر جامع الألبوم الفني، محمد جندراجیزاده، وأن العمل على الألبوم اكتمل في سنة 980 هـ / 1572-73 م في القسطنطينية، حسبما يذكر الكاتب حيدر الحسيني. يمكن أن يكون اسم الأول مشتقًا من كلمة \"مكبس الدار\"، أي \"ابن المكبس\". ومع ذلك، كان اسم العائلة جنديجیزاده موجودًا بالفعل في النصف الثاني من القرن الخامس عشر، ما يجعل الجامع ربما من نسل هذه العائلة. أما الأخير، مير سيد حيدر الحسيني، فقد كان من بخارى لكنه عاش في تبريز، كما يظهر في الأعمال الموقعة الباقية؛ ويمكن أيضًا العثور على نص آخر له في المكتبة الوطنية النمساوية (Cod. N. F. 340).","en":"On fol. 6a, the second part of the album preface, outlining the creation of the album in continuation of fol. 5b, is written down within a dense frame of ornamentation. The text within the large script medallion was created in 980 AH/1572-73 AD in Istanbul. The arabesque corner fillings in blue and two shades of gold are overlaid with a network of floral vines. The preface is written in black *nasta’liq* with specific names rendered in gold. The letters are inscribed in white cloud bands, and the interstices are dotted in red. The frames in yellow, blue, and gold include interlace bands and elongated medallions decorated with flowers. The frame board shows a border of golden trefoils against a dark blue ground that has golden vines in different shades of gold within. On the outer margin, a palmette-shaped and richly articulated design extends outside the golden serrated border with red and blue blossoms. Its contours and ornamental background appear to have been repaired with blue paint in the 18th century. The preface itself includes an exaltation and outlines the benefits of calligraphy using specimens of which constitute the majority of material within the album, as well as details of the album’s genesis. Qur’anic quotes and hadith are penned in gold for visual differentiation. The first part is a direct copy of a Safavid calligraphy album preface (Topkapi Sarayi H. 2156), and a 15th-century Timurid preface. This points to a tradition of the genre of album prefaces within the practice of album making. The later part of the text mentions the artistic compiler of the album, Muhammad Jandarajizada and that the work on the album was completed in 980 AH / 1572-73 AD in Constantinople, as the scribe Haidar al-Husaini states. The name of the former could be derived from the word for ‘bookbinder's press’ and translated as ‘son of the pressman’. However, the family name of Jendejizade had already existed in the second half of the 15th century, making the compiler perhaps a descendant of this family. The latter, Mir Sayyid Haidar al-Husaini hailed from Bukhara yet lived in Tabriz, as reflected in extant signed works; another of his texts can also be found in the Austrian National Library (Cod. N. F. 340)."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/00d6dda8-47c7-5f8f-b514-a4b4056b9e58.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 6b،  تتضمن اللوحة تصوير يوسف المصري على العرش، ويعود تاريخها إلى سنة 963 هـ / 1555-56 م في بخارى. تعكس لوحة الإطار كرومًا ذهبية ملتفة وزخارف سحابية مبسطة باللونين الأزرق والأخضر على خلفية وردية. ويُذكر يوسف المصري في عشرة نصف أبيات من غزلية لجامي، مرفقة لاحقًا في أعلى الصورة.  أسفل اللوحة، يرتدي يوسف ثوبًا أصفر-برتقاليًا وهو جالس على شرفة حديقة مسوّرة خلف حوض ماء مربع تتقاطع معه قنوات الماء. يرتفع فوق يوسف مظلة عالية، مزخرفة وبها أبراج صغيرة، ترفعه فوق الحضور المحيط به. يُبرز القداسة والهيبة التي يتمتع بها يوسف كحاكم من خلال هالة نارية حول رأسه. إلى يسار المظلة، تجلس زليخة في ثوب برتقالي-أحمر وعباءة زرقاء فاتحة، مع رفع يدها اليسرى المخملية إلى ذقنها، بينما يبدو أن يوسف يميل نحوها. على جانبيهما، وبجوار الإطار، يقف خادم، وسيدة من الصيّاح.  في المقدمة، حول الحوض المزخرف بالبط، يجلس مجموعات من الرجال المتحاورين. تظهر الخلفية مشهدًا طبيعيًا من أشجار مزهرة دقيقة بأزهار وردية على خلفية ذهبية. تشير زخرفة الإطار والنص نفسه إلى أن هذه اللوحة وتلك الموجودة في الصفحة 29أ كانت في الأصل تشكّل صفحتين مزدوجتين في الألبوم، ومن المحتمل أنهما فُصلتا في القرن الثامن عشر عند إعادة تجليد الألبوم. اللوحتان متشابهتان جدًا من الناحية الأسلوبية، ومن المرجح أن يكونا من رسم نفس الفنان في بخارى، الذي وقع باسم محمود مدهب في الصفحة 29أ، وذكر أيضًا التاريخ 963 هـ / 1555-56 م. كان محمود أشهر رسامي الكتب في بخارى ووُصف بأنه مدهب، أي \"المذهّب\" أو \"المُنير\". يبدو أن محمود بدأ عمله في هرات في بلاط السلطان حسين بايقرا، حيث من المؤكد أنه عرف بهزاد، الذي استلهم منه بشكل واضح. يعرفه المصادر التاريخية، ولا تزال العديد من الأعمال المنسوبة إليه أو الموقعة باسمه محفوظة حتى اليوم. بعد انحدار سلالة التيموريين في هرات، انتقل العديد من الفنانين، بمن فيهم محمود، إلى بلاط الشيبانيين في بخارى، مما نقل أسلوب البلاط وأساليب بهزاد من هرات إلى بخارى.","en":"Fol. 6b includes a painting of the Egyptian Joseph on the throne, dated to 963 AH/1555-56 AD in Bukhara. The frame board reflects golden floral spiral tendrils and stylised blue and green cloud bands against a pink background. Yusuf, the Egyptian Joseph is mentioned in the subsequently attached ten half-verses of a ghazals of Jami at the top of the image. Below, he is clad in yellow-orange and is sitting on a fenced garden terrace behind a square water basin with water channels arranged crosswise to it. A high, richly decorated and turreted canopy rises above Yusuf, elevating him above his surrounding congregation. Yusuf's holiness and dignity as ruler is emphasised by a flaming halo around his head. To the left of the canopy sits Zulaikha in an orange-red dress and a bright blue cloak, her left veiled hand raised to her chin while Yusuf appears to be leaning towards her. On either side of them, against the frame, a servant and a lady-in-waiting are standing. In the foreground, seated around the basin enlivened by ducks, are groups of conversing men. The landscape in the background is indicated by delicate flowering trees with pink blossoms before a golden background. The border decoration as well as the text itself indicate that this painting and the one on fol. 29a had originally formed a double page in the album and were probably separated in the 18th century when the album was re-bound. The paintings are stylistically very similar and likely painted by the same artist in Bukhara, who signed as Mahmud Mudahhib on fol. 29a and also included the date of 963 AH / 1555-56 AD. He was the most famous book painter of Bukhara and was described as a *mudahhib*, meaning ‘gilder’ or ‘illuminator’. Mahmud seems to have worked first in Herat at the court of Sultan Husain Bayqara, where he must also have known Behzad, by whom he was visibly inspired. He is known from historical sources and numerous works attributed to him or signed by him still survive. After the decline of the Timurid dynasty in Herat, many artists, including Mahmud, came to the Shaybanid court in Bukhara, through which the courtly style and that of Behzad were transferred from Herat to Bukhara."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/79c5dd7d-a190-5f2d-a7a9-700055393e7b.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة 7a،  تم لصق صورة لشاب أوروبي من الربع الأول من القرن السابع عشر، ربما في أصفهان، ضمن لوحة إطار مزخرفة بشكل متقن. الإطار مزخرف بشكل غني وملون بزخارف عثمانية نباتية وزهرية – بما في ذلك أشكال النخيل المزهر، براعم الأزهار، والفروع المورقة بالذهب والأحمر والبنفسجي والأخضر والأزرق والأسود. يظهر هذا الإطار مرة واحدة فقط في الألبوم، ومن المحتمل أنه أُنشئ في القرن الثامن عشر.  الإطار الانتقالي يتألف من أشرطة عربية ذهبية على خلفية زرقاء. تُظهر اللوحة شخصية أمام خلفية مملوءة بكروم ذهبية دقيقة، واقفة مع ثني الركبتين قليلًا. يرتدي الشاب قبعة سوداء، وراف أبيض حول الرقبة، وأربطة ذهبية على الذراعين فوق سترة خضراء فاتحة، وهي عناصر من الزي الأوروبي التقليدي في ذلك الوقت. أما بقية الملابس فهي ذات طابع فارسي، بما في ذلك رداء أزرق، سروال زهري، وأحذية ذهبية. وبناءً على هذا الزي، قد يكون تمثيلاً لشخص برتغالي أو هولندي. يحمل الشاب كتابًا ذهبيًا مفتوحًا قليلًا بين يديه المتقاطعتين، وينظر بتأمل إلى البعيد. على اليمين، تقريبًا عند مستوى الركبة، توجد كتابة دقيقة: \"katabahu Riza\" (كتبها رضا). هذه الصياغة غير معتادة، إذ أن أن الرسام الشهير رضا العباسي لم يكن يوقع عادةً بهذه الطريقة، كما أن التوقيع لا يعكس خطه. من المرجح أن اللوحة أُنتجت بواسطة فنان من مدرسة أصفهان.","en":"On fol. 7a, the portrait of a young European from the first quarter of the 17th century in, potentially, Isfahan, is pasted into an elaborate frame board. The frame is richly and colourfully decorated with Ottoman floral and foliate designs – including palmettes, flowering buds, and leafy branches – in gold, red, purple, green, blue, and black. This frame only appears once in the album and was probably created in the 18th century. The transitional frame consists of gold arabesque bands on a blue background. The painting shows a figure within a background filled with delicate gold tendrils, standing with slightly bent knees. The young man is wearing a black hat, white ruff around the neck, and yellow armbands on a light green jacket, which correspond to traditional European costume of the time. The rest of the clothing is rather Persian in style, including a blue robe, pink trousers, and golden slippers. Judging by this costume, it could be the representation of either a Portuguese or a Dutchman. He holds a slightly opened golden book in his crossed hands and gazes pensively into the distance. On the right, approximately at knee height, is a delicate inscription: *katabahu Riza* (‘Written by Riza’). This is a foreign attribution, as the famous painter named Riza-i 'Abbasi was neither in the habit of signing in this unusual formulation, nor does the signature reflect his writing. The painting was likely made by an artist in the school of Isfahan."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4337cab7-48ba-5fb4-b772-d48e06046552.jpg","display_order":7,"alt_text":null,"captions":{"ar":"في الصفحة 11b،  تتضمن اللوحة رسم قلم قصب ملون لرأس تنين بين أوراق نباتية من حوالي 1550-1570، صُنعت في تبريز أو إسطنبول، ومحاطة بإطار وردي مزخرف بأغصان وزهور وأشكال نخيل متناوبة باللونين الأزرق والذهبي. يُرسم رأس التنين المصبوغ بالأزرق ضمن أوراق مقوسة وملفوفة بشكل متقن مع أزهار عنقودية جزئيًا ملونة بالوردي، تنبثق من غصن واحد في الركن الأيسر السفلي. إنها تداخل ديناميكي للأشكال يحتاج إلى تفكيك بصري من قبل المشاهد.كُشفت جديلة التنين المجعدة، وخطمته المجعدة، والقرن البارز من جبينه عن أن التنين مرتبط بالنماذج الآسيوية الشرقية. كما أنه يعض ورقة، ويُبرز غصن أطول لتأكيد التركيز عليه.","en":"Fol. 11b includes a tinted reed pen drawing of a dragon’s head in foliage from c. 1550-70 made in Tabriz or Istanbul, surrounded by a pink frame board with vines, flowers, and palmettes alternating in blue and gold. The blue-tinted dragon’s head is inscribed within an elaborately curved and rolled lancet foliage with flower umbels that are partially coloured in pink, growing out of a single branch at the bottom left corner. It is a dynamic interplay of forms that needs to be visually deciphered by the viewer. The dragon’s curly mane, the wrinkly snout, and the horn protruding from its forehead reveal that the dragon is related to East Asian models. It is biting into a leaf and framed by a longer branch for emphasis."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/9dfc5bbd-883a-5d54-b447-5c6628abe437.jpg","display_order":8,"alt_text":null,"captions":{"ar":"في الصفحة 12b, تُعرض تركيبتان من القصاصات الورقية الملونة مع لوحات مكمِّلة، تعودان إلى أواخر القرن السادس عشر أو أوائل القرن السابع عشر في إسطنبول. يتألف الإطار من زخارف نباتية ذهبية كبيرة تشمل أشكال نخيل وفروعًا أوراقية على خلفية وردية. يتكون الإطار الانتقالي من كروم زهرية في شرائط بيضاء وفاتحة زرقاء متبادلة، متقطعة بالذهب. يُحتمل أن القصاصات الورقية الموجودة لم تُصمَّم خصيصًا لهذا الألبوم، بل نُقلت من سياقها الأصلي ولُصقت بطريقة تستدعي قلب الصفحة لمشاهدتها أفقيًا. التركيبة الأصغر في المنطقة العليا مُنفذة مركزيًا على ورق أسود ومدمجة في الورقة البيضاء الكبيرة، التي قُصت مستطيلة لهذا الغرض. تُظهر هذه التركيبة المستطيلة خط أرض عشبي مع زهور، وأشجار أرز عالية متناوبة مع أشجار مزهرة. يمكن رؤية طائر ملكية صغير وكائنات صغيرة أخرى، مثل ضفدع وفراشة، بين النباتات. فوق الحديقة تحوم سحب صغيرة من النمط الصيني، مصممة بأسلوب مبسط. وتُرافقها من الجانبين زخارف نباتية ذات صلة مرسومة على الورقة. تشمل الرسوم زهورًا ملونة فردية على تلال صغيرة يمكن التعرف عليها نباتيًا. في المنطقة السفلى، تم لصق صف آخر من أشجار الأرز والزهور والشجيرات المزهرة على خط عشب بشكل متتابع على خلفية الورق. تكشف دقة العمل عن صغره المتقن: فبتلات الزهور وأعوادها الفردية لم تُلصق فقط بجانب بعضها البعض، بل أيضًا فوق بعضها، مما خلق تأثيرًا رفيعًا بارزًا. وبسبب طابعه الزخرفي، لا تلتزم اللوحة بأي مقياس نسبي. من الممكن أن هذه الرسوم غير الموقعة صُنعت على يد الفنان التركي الشهير بقص الورق، فخري، الذي كان من بورصة وعمل في بلاطي السلطان أحمد الأول ومراد الرابع، ويُقال إنه توفي عام 1027 هـ/1618 م. وبذلك، من الممكن أن تكون هذه القطع أُضيفت إلى الألبوم لاحقًا.","en":"On fol. 12b, two coloured paper-cut compositions with complementary paintings are shown, dating to late-16th or early-17th-century Istanbul. The frame board consists of large golden floral motifs including palmettes and leafy branches on a pink ground. The transitional framing consists of floral tendrils in alternating white and light blue cartouches interspersed with gold. The paper cut-outs within were likely not created specifically for this album but removed from their original context and pasted in in such a way that it is necessary to turn the page in order to view them horizontally. The smaller composition in the top zone is centrally executed on black paper and inserted into the large white sheet, which has been cut out rectangularly for this purpose. This oblong composition shows a grassy ground line with flowers as well as alternating high cypress trees and flowering trees. A small heron and other creatures such as a frog and butterfly can be seen between the plants. Small and stylized Chinese-style clouds hover above the garden. It is accompanied on both sides by related floral decorations that are painted on the sheet. The drawings include individual coloured flowers on tiny hills that can be botanically recognizable. In the zone below, another row of cypresses, flowers, and flowering shrubs on a lawn line are pasted in close succession on the paper ground. The delicacy of the work reveals its minute execution: the individual petals and stamens of some flowers were not only glued next to each other but also on top of each other, thus creating a delicate relief effect. For the sake of its ornamental character, the depiction defies any proportional scale. It is possible that these unsigned depictions were made by the famous Turkish scissor cutter named Fakhri. He hailed from Bursa, worked for the Sultans Ahmad I and Murad IV, and is said to have died in 1027 AH/1618 AD. As such, they could have also been added to the album at a later point."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/ca596fdd-70c5-5856-84dd-60f56c3d69d1.jpg","display_order":9,"alt_text":null,"captions":{"ar":"في الصفحة 14a،  تُعرض مجموعة من المخطوطات، يُحتمل أن تكون من مصادر مختلفة في فارس أو إسطنبول خلال القرن السادس عشر، محاطة بإطار من شبكة هندسية سوداء مزينة بأزهار عثمانية مركبة متعددة الألوان أو ذهبية وكروم ورقية، بعضها ملون بدقة. من حيث التقسيم والزخرفة، تُعد هذه الصفحة نظيرة للصفحة 13b: حقل مركزي غني بالزخرفة مكتوب بخط النستعليق بشكل مائل. يُكتب الخط الكبير فوق لوحة ذهبية دقيقة لنخلة كبيرة، وتزين الزوايا المثلثية بالزهور والأرابيسك بألوان غنية. يحيط بالحقل الرئيسي إطار مزخرف يحتوي على كارتوشات سداسية صغيرة وكبيرة تشمل أيضًا نصوصًا مكتوبة بخط النستعليق. تم قطع أقسام الخطوط ولصقها بشكل فردي، مع إضافة الزخرفة لاحقًا. لم يُمكن تحديد الأبيات المكتوبة عموديًا بالخط الكبير ولا الأبيات الصغيرة. ومع ذلك، فإن الكتابة في الحقل الرئيسي موقعة باسم \"علي الكاتب\" في الزاوية السفلية اليسرى. هذا هو مير علي الهروي الحسيني السلطاني، الذي وُلد على الأرجح في هرات نحو نهاية القرن الخامس عشر. لاحقًا، عمل في ورشة السلطان علي المشهدي في مشهد، ثم عاش مرة أخرى في هرات حتى فتحها عبيد خان الأوزبك عام 935 هـ/1528-29 م. بعد ذلك، انتقل إلى بخارى كأسير حرب، حيث عاش وعمل حتى وفاته. أحد أعماله الموقعة موجود في مكتبة بريطانيا (Or. 5302)، ويمكن العثور على أمثلة خطية أخرى له أيضًا في هذا الألبوم. بالإضافة إلى ذلك، يمكن تحديد خطاط الأبيات الصغيرة على أنه شاه محمود النسابوري، الملقب بزرق قلم، الذي وُلد حوالي 892 هـ/1486-87 م في نيسابور وعاش أولاً في تبريز في بلاط شاه طهماسب. وعندما انصرف الأخير عن الأمور الفنية، انتقل الخطاط إلى مشهد، حيث توفي بعد عدة سنوات من النشاط المثمر عام 972 هـ/1564-65 م. يُعد شاه محمود من أهم خطاطي فارس في العصر الصفوي وترك العديد من الأعمال؛ ويمكن العثور على توقيعه هنا في وسط الجزء السفلي في مثلث صغير في صفحات أخرى من هذا الألبوم، مثل الصفحة  13b.","en":"Fol. 14a includes an ensemble of calligraphies, likely from various sources in 16th-century Persia or Istanbul, surrounded by a frame board of black geometric lattice work with polychrome or gold Ottoman composite flowers and leafy vines, some delicately coloured. In its division and decoration, it is the counterpart to fol. 13b: a richly decorated central field with diagonally arranged *nasta’liq* script. The large script is written over the delicate gold painting of a large palmette, and the triangular spandrels are richly coloured with flowers and arabesques. An ornate frame with smaller and larger hexagonal cartouches also including *nasta’liq* script surrounds the main field. The calligraphy sections have been cut out individually, pasted on, and supplemented with decoration. Neither the vertically placed verses in large script nor the smaller verses could be identified. However, the writing in the main field is signed by 'Ali al-Katib in the lower left corner spandrel. This is Mir 'Ali al-Harawi al-Husaini as-Sultani, who was probably born in Herat towards the end of the 15th century. He was later located in the workshop of Sultan 'Ali al-Mashhadi in Mashhad, then lived again in Herat until the city was conquered by 'Ubaid Khan Uzbak in 935 AH/1528-29 AD. Afterwards, he came to Bukhara as a prisoner of war, where he lived and worked until his death. A work signed by him is in the British Library (Or. 5302), and other calligraphic specimens can also be found in this particular album. Moreover, the calligrapher of the smaller verses can be identified as Shah Mahmud an-Nisaburi, called Zarinqalam (Gold Pen), who was born c. 892 AH/1486-87 AD in Nishapur and first lived in Tabriz at the court of Shah Tahmasp. When the latter turned away from artistic matters, the calligrapher went to Mashhad, where he died after some years of fruitful activity in 972 AH/1564-65 AD. He is one of the most important Persian calligraphers of the Safavid period and left numerous works; his signature – here at the bottom centre in a small triangle – can also be found on other pages of this album, for example fol. 13b."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/0979938a-2807-5f9f-8e4f-89abf30bea38.jpg","display_order":10,"alt_text":null,"captions":{"ar":"في الصفحة 18b، يظهر رسم مصبوغ لقصة رستم وهو يشد خان الصين بحبل من الفيل، ويعود تاريخه إلى أواخر القرن السادس عشر أو أوائل القرن السابع عشر في تبريز. وقد تم لصقه ضمن إطار أزرق فاتح مزين بتصميم شبكي ذهبي على شكل ماس، تتلوى خلاله كروم ذهبية بلون مختلف. هذه المشهد مأخوذ من شاهنامه حيث يظهر رستم، مرتديًا قفطانه المميز بنقوش النمر وخوذة الفهد، وهو يندفع على حصانه وقد ألقى حبلَه حول رأس إمبراطور الصين، الذي يجلس على الفيل مع خادم صغير يجلس خلفه. الرسم منفذ بالحبر الأسود والغسلة الرمادية على خلفية الورق، المزينة بشجيرات وأحجار متناثرة مزهّرة. السروج والدروع ملونة جزئيًا باللون الوردي ومذهبة. في الركن السفلي الأيمن يوجد توقيع قلم كمال (من قلم كمال). لا يمكن تحديد ما إذا كان التوقيع أصليًا أم إضافيًا لاحقًا. كان كمال من تبريز تلميذًا لميرزا علي، الذي كان بدوره ابنًا وتلميذًا للرسام سلطان محمد، رسام بلاط شاه طهماسب في تبريز. اشتهر كمال ومعلمه على وجه الخصوص بتقنية الرسم لديهم. وقد عمل كمال في تبريز من أواخر القرن السادس عشر إلى أوائل القرن السابع عشر، وهو الوقت الذي أُنجز فيه هذا الرسم. من الواضح أن الرسم تم إدراجه في الألبوم في مرحلة لاحقة من الزخرفة، إذ أنه لا يملأ المساحة المركزية بالكامل؛ في الأعلى يظهر لوح صغير من الورق الملون مزين بالذهب. علاوة على ذلك، يجب قلب الصفحة لمشاهدة الرسم بصورته الأفقية. أعلاه وأسفله، تكشف سطور غير مزخرفة بخط النستعليق عن غزل من ديوان الحسيني (سلطان حسين بايقرا)، تنتمي إلى أبيات الصفحات السابقة ولُصقت أيضًا على صفحات لاحقة. ربما تم اقتطاع هذه الأجزاء بالفعل في القرن الخامس عشر، أو على الأقل قبل سنة 911 هـ/1506 م. تُعد هذه القطع جزءًا من مخطوطة غير مكتملة في مكتبة آيا صوفيا في إسطنبول مع صفحة من الألبوم (رقم 404) في مكتبة تشيستر-بيتي بدبلن، أيرلندا.","en":"On fol. 18b, a tinted drawing of the story of Rustam pulling the Khaqan of China with a noose from the elephant can be seen, dating to late-16th or early-17th-century Tabriz. It was pasted into a frame board of light blue with gold diamond-shaped lattice design through which tendrils in a different hue of gold are winding. This scene is from the *Shahnama* (‘Book of Kings’) where Rustam, in his characteristic tiger caftan and leopard helmet, is charging forwards on his horse and has thrown his rope around the head of the emperor of China, who sits enthroned on an elephant with a small servant sat behind him. The drawing is executed in black ink and grey wash against the paper background, which is decorated with scattered flowery shrubs and stones. The saddles and armour are partly coloured in pink and gilded. On the lower right is the signature *Qalam-i Kamal* (‘From the pen of Kamal’). Whether the signature is authentic or a later attribution cannot be determined. Kamal from Tabriz was the pupil of Mirza 'Ali, the latter son and pupil of the painter Sultan Muhammad, who was the court painter of Shah Tahmasp in Tabriz. Kamal and his teacher were particularly known for their drawing technique. He was working in Tabriz from the end of the 16th to the beginning of the 17th century, when this drawing was made. The drawing was clearly inserted into the album in a later phase of decoration as it does not quite fill the overall central space; at the top, a small panel in coloured paper with golden decoration is visible. Moreover, the page needs to be turned in order to see the drawing in its horizontal format. Above and below the reed pen drawing, undecorated lines in *nasta'liq* script reveal a ghazal of the *Diwan* of Husaini (Sultan Husain Bayqara), belonging to the verses of the previous pages and also pasted onto later folios. These were perhaps already cut out in the 15th century, or at least before 911 AH/1506 AD. The cut-outs are part of an incomplete manuscript of the Aya-Sofya Library in Istanbul together with an album page (no. 404) in the Chester-Beatty-Library in Dublin, Ireland."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f4ce7cd9-7e3e-5fa9-92ec-7f873cbd8fa4.jpg","display_order":11,"alt_text":null,"captions":{"ar":"في الصفحة 37b، يظهر تصوير لرجل مسن يقرأ، من منتصف القرن السابع عشر في أصفهان. وقد تم لصقه ضمن إطار مزين بتصميم زهري ذهبي على خلفية وردية. النص في الأعلى يقرأ \"الشيخ سعدي\"؛ ومع ذلك، بما أن هذا الشاعر كان قد توفي قبل 400 عام من تاريخ إنجاز الرسم، فمن المرجح أن يكون هذا محاولة للتعريف به في وقت لاحق. يُصوَّر الرجل المسن في وضعية جلوس، وركبتيه مقربتين إلى صدره، في منظر طبيعي ذهبي تجريدي تحت أزهار وسحب شاهقة. يرتدي عمامة كبيرة، وعباءة بنفسجية، ووشاح تركوازي، ونعال برتقالية. يحمل بيده اليمنى كتابًا مفتوحًا بغلاف أسود وتطعيمات ذهبية منقوشة، بينما يلمس جبهته بيده اليسرى في حركة تفكّر وتأمل. تم تلوين ملامحه، بما في ذلك اللحية الطويلة، بعناية فائقة، ما يبرز مستوى الإتقان العالي للرسم. يبدو أن اللوحة نُسبت لاحقًا إلى رضا عباسي، حيث أضيفت كلمة آقا في الزاوية السفلى اليسرى، إذ كان يُشار إلى الرسام أيضًا باسم آقا رضا. ومع ذلك، لم يوقّع الفنان أعماله بهذا الاسم. من المرجح أن اللوحة أنجزها أحد تلاميذ الرسام، إذ تظهر اختلافات في الحركة واللون والشفافية مقارنة بأعمال المعلم نفسه.","en":"Fol. 37b shows the depiction of an old man reading, from mid-17th-century Isfahan. It is pasted into a frame board of gold floral design on a pink background. The inscription at the top reads ‘Shaikh Sa’di’; however, since this poet had already been dead for 400 years at the time the painting was made, this must be an attempt at identification at a later time. The elderly man is depicted in a sitting position, with his knees brought to his chest, in an abstracted golden landscape underneath towering flowers and clouds. He wears a large turban, a purple dress, a turquoise shawl, and orange slippers. He is holding an open book with black covers and gilded embossing in his right hand, and touches his forehead in a pensive gesture with his left hand. His facial features, including the long beard, are delicately painted, revealing the painting’s highly accomplished execution. The painting appears to have later been attributed to Riza-i 'Abbasi, as the word *Aqa* is added at the bottom left corner, as the painter was also referred to as Aqa Riza. However, the artist did not sign his works with this name. It is likely that the painting was made by one of the artist’s pupils as it is different in movement, colour, and transparency from the master’s works."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/c66f2016-ca1b-56a6-bdc7-fdc5715091e5.jpg","display_order":12,"alt_text":null,"captions":{"ar":"في الصفحة 42a، تم لصق رسومتين في المساحة المركزية، محاطتين بإطار من ورق عاجي اللون مرشوش بالذهب، يتضمن خمسة شارات ملونة مختلفة، ملصوقة جزئيًا أو مدمجة فيه. تشمل الأطر الانتقالية المتعددة إطارًا آخر من ورق أزرق مرشوش بالذهب. تم لصق الرسومات بالقلم القصب على خلفية رمادية ووردية. الرسمة العلوية على شكل سداسي تُظهر معركة بين تنين وأسد في ترتيب دائري وزخرفي للغاية، حيث تم تذهيب بعض مواضعها. جسم التنين الطويل ملفوف حول الأسد، بينما يغرز الأسد مخلبه وأسنانَه في جسد التنين، الذي يحاول عض ساقه الخلفية. كلا الحيوانين مستمد من نماذج شرق آسيوية. من المرجح أن الرسمة أنجزت في النصف الثاني من القرن السادس عشر في تبريز أو إسطنبول، وربما كانت نمطًا مخصصًا لوسيط آخر.  أما الرسمة السفلية فهي رسم بالحبر مع غسولات رمادية، تُظهر زيارة للناسك في تكوين عمودي للمنظر الطبيعي، مع صخور شاهقة، وشجرة متعرجة كبيرة، وسحب في الخلفية، ومشهد لثلاثة أشخاص في المقدمة. رجل مسن وصبي على اليسار يتحاوران مع ناسك ملتحٍ، نحيف قليلًا، على اليمين. بين الزائرين والناسك، يظهر جدول صغير محاط بالأزهار. ظبي ذكر يشهد المشهد من خلف الصخور في الزاوية العليا اليمنى. قد يكون هذا مشهدًا من قصة ليلى ومجنون. تبدو الرسمة الدقيقة جدًا غير مكتملة، ومن المحتمل أن تكون قد أنجزت في قزوين حوالي عام 1560.","en":"On fol. 42a, two drawings are pasted into the central space, surrounded by a frame board of ivory-coloured, gold-sprinkled paper including five, differently coloured cartouches partly glued on or inserted into it. The multiple transitional frames include another border of blue-coloured gold-sprinkled paper. The reed pen drawings are pasted on a greyish and pink background. The drawing at the top in hexagonal format shows a battle between a dragon and a lion in a circular, very decorative arrangement, which was gilded in some places. The dragon’s long body is wrapped around the lion, yet the lion also has also sunken his claws and teeth into the dragon’s body who is trying to bite off the lion’s hind leg. Both animals are related to Eastern Asian models. The drawing was likely made in the second half of the 16th century in either Tabriz or Istanbul, potentially a motif intended for a different medium. The drawing underneath is an ink drawing with grey washes, showing the visit to the hermit in a vertical landscape composition with towering rocks, a large gnarly tree and clouds in the background, and the scene of three figures in the foreground. An old man and a boy on the left are conversing with the bearded, slightly emaciated, ascetic hermit on the right. Between the visitors and the ascetic, a small stream lined with flowers is visible. A gazelle buck is witnessing the scene from behind the rocks in the top right corner. It may be a scene from the story of Layla and Majnun. The very finely executed drawing appears unfinished, and was probably made in Qazwin around 1560."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/97760897-ce02-57ec-a920-acc18f57a3d0.jpg","display_order":13,"alt_text":null,"captions":{"ar":"في الصفحة 46b،  تظهر لوحة لِلاكّر تصور فارسًا مع خادمين في طريقهم إلى مباراة بولو، ويُحتمل أن تكون قد أُنشئت في تبريز حوالي 933-940 هـ / 1527-33 م. تم لصقها داخل لوحة إطار مرسوم بالذهب على شكل نباتات وطيور، بالإضافة إلى تنين وأسد يهاجمان كل منهما ظبيًا. تحتوي اللوحة على قوس متعدد الفروع على الطراز الهندي، مزخرف بأنماط زهرية دقيقة باللونين الأحمر والذهبي، فوق المشهد الرئيسي على خلفية سوداء. أسفل القوس، يمتطي الفارس حصانًا أبيض لِجامه ذهبي، ويجتاز منظرًا طبيعيًا خصبًا، مع وجود خادمين على الأقدام أمامه وخلفه. بينما يحمل الفارس عصا بولو واحدة فقط، يحمل الخادمان عدة عصي. تم تشكيل وجوههم بدقة فائقة. يشمل المشهد أشجارًا مرتبة زينة، بأغصان منحنية وأزهار، بالإضافة إلى شجيرات مزهرة. كما تظهر سحب على الطراز الصيني في الأعلى. تم رسم حدود النباتات وملابس الرجال باللون الذهبي، وتتلألأ الألوان الحمراء والبرتقالية والذهبية بدفء على الخلفية السوداء-البنية لللاكر.  تعد هذه اللوحة واحدة من سبع لوحات لاكر في الألبوم، ترتبط من حيث الأسلوب بالدائرة الفنية المحيطة ببَهزاد، مثل الرسامين سلطان محمد وشَيْخ زاده، رغم أن تأثير سلطان محمد يبدو هو المهيمن. يمكن مقارنة اللوحة بـديوان حافظ في متحف فوج، الذي أُنجز لسم ميرزا (923-984 هـ / 1517-1576 م)، ابن شاه إسماعيل، حوالي 933-940 هـ / 1527-33 م، على الأرجح في تبريز. قد يكون لاعب البولو في الوسط هو صورة محتملة للأمير سم ميرزا، الذي تم تصويره مرتين في الديوان، مرة حتى مع نقش اسمه. تُعد هذه اللوحة من بين أقدم اللوحات اللاكرية التصويرية الباقية في الفن الفارسي. ومن المحتمل أن يكون صانعها محمد بك، ابن وتلميذ سلطان محمد. الغرض الأصلي منها غير واضح، ومع ذلك، نظرًا لأن اللوحات الأخرى أيضًا تعرض شخصيات أو حيوانات موزعة بشكل زخرفي ومتناسق، ويبدو أن عددها يلعب دورًا بصريًا، فمن الممكن أنها تمثل أوراق لعب أو نماذج لأوراق لعب من هذا النوع. ولم تُعثر بعد على أوراق لعب فارسية مبكرة تطابقها تمامًا. كانت أوراق اللعب غير معروفة في تركيا في القرن السادس عشر ولمدة طويلة بعده، مما يجعل من المفهوم وضعها في الألبوم كأعمال فنية.","en":"Fol. 46b reveals a lacquer painting of a horseman with two servants on the way to a polo match, likely created in Tabriz in around 933-940 AH/1527-33 AD. It is pasted within a frame board with gold painting of plant life, birds as well as a dragon and a lion attacking a gazelle each. The painting has an elaborate multi-pronged ‘Indian’ arch with delicate reddish-golden floral patterns above the main scene on a black ground. Underneath, a rider on a golden-bridled white horse is riding through a lush landscape with two servants on foot in front and behind him. While the rider is only carrying one polo stick, the two attendants are carrying multiple ones. Their faces are finely modelled. The landscape includes decoratively arranged trees with bent branches and blossoms as well as flowery shrubs. Chinese-style clouds are visible at the top. The contours of the plants and the men’s robes are drawn in gold paint; the red, orange and gold tones shimmer warmly on the black-brown lacquer ground. It is one of seven lacquer paintings in the album that are stylistically close to the artistic circle around Behzad, for example the painters Sultan Muhammad and Shaikh-zada, although Sultan Muhammad's inspiration seems to dominate. The painting is comparable to the Fogg Art Museum's *Diwan* of Hafez, executed for Sam Mirza (923-984 AH/1517-1576-77 AD), son of Shah Isma'il, in around 933-40 AH/1527-33 AD, probably in Tabriz. The polo player in the centre may potentially be a portrait of Prince Sam Mirza, who is even depicted twice in the *Diwan*, once even including the inscription of his name. This specimen is among the earliest surviving figurative lacquer paintings in Persianate art. Their maker may have been Muhammad Bek, a son and disciple of Sultan Muhammad. Their original purpose is unclear; however, since the other lacquer paintings also show symmetrically and decoratively assigned figures or animals, whereby their number visibly plays a role, it is possible that they represent playing cards or models for such cards. Exactly corresponding early Persian playing cards have not yet been found. Playing cards were unknown in Turkey in the 16th century and for a long time thereafter, which makes it understandable that they were put in the album as works of art."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/35704559-1ab1-5e54-b685-7891d999a011.jpg","display_order":14,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["032d07d0-de44-5fc4-b2ac-8712cfaa0838","070e713b-f503-5f87-be41-16cb73c070b4","801f574d-c2f6-52a3-ae7c-6a0074f1c59b","811580e5-c0b8-5c27-8c10-3a3a36bee143","aea62142-bf4f-5655-8c52-b1e856151ce7","b96fb0ed-83cb-5316-ab1d-f4e286f25845","c2953466-916b-57e9-9f3b-409c9af9afa1","c77b27a2-a0b9-5b4b-903b-008ba93b0842","cf7d3667-7d96-58e6-af31-c5d6fe2c71b8","d741661c-846f-560d-a11c-19720819ac9a","f3052f85-4db5-5572-a790-f3dc9a248659"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"fdd3753f-818b-54d6-aab7-80f375510649","type":"object","internal_name":"Nebamun tomb paintings","backward_compatibility":"mwnf3_sharing_history:sh_objects:awe:uk:104","project_id":"0f031e22-6dc6-5ce6-b94b-9bb88345140c","partner_id":"af01a84d-b174-5718-b9a7-b741c8957086","country_id":"gbr","owner_reference":"n/a","mwnf_reference":"UK 104","start_date":1815,"end_date":1825,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/2a9c2750-174a-5e82-97f2-fca62c2a65df.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"Trustees of the British Museum"}],"tag_ids":["8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","dd08d421-bc0f-58dd-a1d0-f48edf2dc255"],"dynasty_ids":[],"glossary_ids":[],"artist_names":[],"media":[],"related_items":[],"gallery_references":[],"languages":["en"]},{"id":"f4ec5e16-ce89-5fd8-a571-64a756787ac8","type":"object","internal_name":"Nizami Ganjavi, or Jamal ad-Din Abu Muhammad Ilyas b.Yusuf b. Mu’ayyad Nizam ad-Din, *Khamsa* ('Quintet')","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:29","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 93","mwnf_reference":"AT4 29","start_date":1475,"end_date":1525,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/df3bfb7b-04a6-5b48-9593-ebf10c49297c.jpg","display_order":1,"alt_text":null,"captions":{"ar":"الصفحة 1a: شمسة رصيعة الإهداء تحوي على تعليقتين في الأعلى وتعليقتين في الأسفل، باللونين الأزرق الداكن والذهبي. وقد كُتبت في الرصيعة المركزية الذهبية ذات الشكل النجمي، وكذلك في التعليقات الدرعية الذهبية، عباراتُ تمنٍّ بالحظ والبركة للمالك المجهول الذي لم يُذكر اسمه. حول هذه النجمة السداسية، وضمن الرصيعة الزرقاء الأكبر، ، تنتظم ست دلايات تحمل عناوين العمل مكتوبة بخط النسخ الأبيض. ومن حولها، توجد زخارف نباتية متعددة الألوان على هيئة تفرعات لولبية، تنطلق من الأرابيسكات الذهبية التي تتضمّن عنوان العمل.","en":"Fol. 1a features a *shamsa*, a dedicatory medallion with two pendants each at the top and bottom, coloured in dark blue and gold. In the gold central star-shaped medallion as well as in the gold shield pendants, good wishes of luck and blessings for the unnamed owner are inscribed. Arranged around this six-pointed star within the larger blue medallions are six pendants with the titles of the work written in white *naskh* script. Around them, multi-coloured floral tendrils emanate from the golden title arabesques."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d35f47e5-c849-5244-9c7c-63ac18817fe4.jpg","display_order":2,"alt_text":null,"captions":{"ar":"الصفحة 1b: تعد الصفحة الأولى من الافتتاحية ذات الصفحتين، وهي مزخرفة ببذخ باللونين الأزرق الداكن والذهبي، وتتخلّلها تفرّعات نباتية متعددة الألوان وأرابيسكات ذهبية. تحتوي إطارات العنوان الموجودة في الأعلى والأسفل على مداليات ذهبية كُتب فيها عنوان العمل واسم الشاعر بخط الثلث الأبيض. أما الإطار الخارجي فيتكوّن من شريط متعرّج مسنن ومنحني باللون الأزرق ودرجتين مختلفتين من االلون الذهبي. داخل مساحة النص، تنتظم عمودان كتابيان تزينهما من الجوانب الخارجية حدود زخرفية من التفرعات النباتية.","en":"Fol. 1b is the first page of the double-page opening, lavishly decorated in dark blue and gold, and interspersed with polychrome floral tendrils and golden arabesques. The title cartouches situated at the top and bottom contain golden medallions with the title and poet’s name inscribed in white *thuluth* script. The outer framing consists of a crenellated and curved zigzag band in blue and two different shades of gold. Within the text block, two columns of text are adorned on the outer sides with an outer border of floral tendrils."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/12c53eaa-0baa-5af9-82cd-745958d0f73e.jpg","display_order":3,"alt_text":null,"captions":{"ar":"الصفحة 5a: تصور المعراج، أي صعود النبي محمد إلى السماء، ضمن تكوين مربع يقع داخل مساحة النص الداخلية، ويؤطَّر المشهد بسطرين كتابيين في الأعلى والأسفل. أمام سماء ليلية زرقاء داكنة محاطة بسحب ذهبية، يظهر النبي محمد بلباس أخضر جالسًا على دابة البراق ذات الرأس البشري، ومحاطًا بخمسة من الملائكة. ويشير الملاك الذي يتقدّم إلى الأمام في اتجاه مسار القراءة.","en":"On fol. 5a, the *mi'raj*, the ascension into heaven of the Prophet Muhammad is shown in a square shape within the inner text block, with two lines of script at the top and bottom framing the painting. Before the darkblue night sky and surrounded by golden clouds, Muhammad, clad in green, sits on his human-headed mount Buraq, surrounded by five angels. The angel in front of him points forwards, in the direction of reading."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/4f7689a7-8686-58e5-b500-a1ddc52eb812.jpg","display_order":4,"alt_text":null,"captions":{"ar":"صورة الغلاف، الصفحة 62a: تصور مشهدًا يرى فيه خسرو شيرين سرًّا وهي تستحم في نبعٍ جبلي، ضمن تكوين شبه مربع داخل مساحة النص، ومؤطَّر بسطرين كتابيين في الأعلى والأسفل. تنتمي هذه اللوحة من حيث الموضوع إلى القصيدة السردية \"خسرو وشيرين\". تظهر شيرين جالسة في مياه فضية تحت شجرة وردية، وقد علّقت على أغصانها ملابسها وأسلحتها، وهي تمشّط شعرها الطويل. إلى يسارها، يشرب حصانها الأسود من الجدول. وأمام سماء ذهبية تتخللها سحب لولبية، ومن خلف أوراق خضراء تحجب المشهد جزئيًا، يتوقف خسرو بفرسه رافعًا إصبعه إلى فمه تعبيرًا عن الدهشة.","en":"Fol. 62a depicts the instance of Khusrau secretly observing Shirin bathing in a mountain spring in an almost square format within the inner text block, framed by two lines of script at the top and bottom. This painting belongs thematically to the narrative poem of ‘Khusrau u Shirin’. Shirin is sitting in the silvery water under a pink blossoming tree on which she has hung her clothes and weapons, and is combing her long hair. To her left, her black horse is drinking from the stream. Before the golden sky with spiral clouds and half-hidden behind green foliage, Khusrau has halted his horse and brought a finger to his mouth in wonder."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2bab4977-5787-5277-aebf-835f97e921dc.jpg","display_order":5,"alt_text":null,"captions":{"ar":"الصفحة 75b: يظهر خسرو وشيرين في وليمة ليلية ضمن لوحة مستطيلة ممتدة تشغل كامل مساحة كتلة النص الداخلية. تنتمي هذه اللوحة موضوعيًا إلى القصيدة السردية \"خسرو وشيرين\". يجلس الاثنان متقاربين، حيث يحتضن خسرو شيرين، أمام جدول ماء وتحت شجرة خضراء كبيرة. تسهم أواني الشرب الذهبية الموضوعة أمامهما في تعزيز الأجواء الاحتفالية، بينما يظهر الخدم على الجانبين الأيسر والأيمن شبه محجوبين خلف الإطار. ويرتدي الخادمان الذكور على اليمين عمائم صفوية رسمية (تاجي حيدري)، وهي إضافة نفذها رسام لاحق، ويُحتمل أنه أعاد صياغة عناصر أخرى من اللوحة أيضًا.","en":"On fol. 75b, Khusrau and Shirin are shown at a nocturnal feast within an elongated painting consuming the entire space of the inner text block. This painting belongs thematically to the narrative poem of ‘Khusrau u Shirin’. They are sitting closely together, with Khusrau hugging Shirin, before a stream and under a large green tree. The golden drinking vessels in front of them add to the festive ambiance, while the servants to the left and right are half-hidden behind the frame. The two male servants on the right wear Safavid staff turbans (*taj-i haidari*), which were added by a later painter, who potentially also remodelled other aspects of the painting."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/cf087d4d-28c9-518c-a8c0-11cb6dfe3d82.jpg","display_order":6,"alt_text":null,"captions":{"ar":"الصفحة 219a: تُصور لحظة اللقاء بين ليلى ومجنون بعد وفاة زوجها ابن سلام، ضمن تكوين متعدد الأضلاع يمتد إلى عمود الهامش ذي الجوانب الثلاثة. يؤطر المشهد بسطر واحد من النص في الأعلى وآخر في الأسفل. وتنتمي هذه اللوحة موضوعيًا إلى القصيدة السردية \"ليلى والمجنون\". وفقًا لما ترويه الحكاية، تظهر الشخصيتان الرئيسيتان في أسفل منتصف اللوحة وقد أُغمي عليهما فوق العشب أمام خيمة شاهقة مزخرفة تحتل كامل ارتفاع المشهد، بينما تتقاطع جسداهما. تجلس خادمة عند مدخل الخيمة، رافعة إصبعها إلى شفتيها تعبيرًا عن الدهشة. حول العشاق، توجد حيوانات المجنون المروضة. وفي الخلفية، يظهر أحد أسود المجنون وقد تُرك دون رعاية، وهو يعض رجلًا في كتفه. ويبدو أن بعض أجزاء هذه اللوحة قد تم رسمها في وقت لاحق.","en":"On fol. 219a, the reunion between Laila and Majnun after the death of her husband Ibn Salam is depicted in a polygonal format extending into the three-sided marginal column format. The painting is framed by one line of text at the top and bottom. This painting belongs thematically to the narrative poem of ‘Layla wa Majnun’. As the tale goes, in the bottom centre the two main figures have fainted on the lawn in front of an elaborate high tent taking up the full height of the painting, their bodies crossed. A servant sits in the doorway of the tent, with a finger raised to her lip in wonder. Around the lovers, tame animals of Majnun behold them. In the background, one of Majnun’s lions, now unattended, bites a man in the shoulder. This painting appears to have been partially painted over at a later point."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/aa8ebb71-4f1a-57fa-9cb8-2e9fdbc81cc6.jpg","display_order":7,"alt_text":null,"captions":{"ar":"الصفحة 248a: يصور بهرام وهو يقتل التنين في تكوينٍ متعدد الأضلاع يمتد إلى عمود الهامش ذي الجوانب الثلاثة، بأسلوبٍ حركي ديناميكي. يُؤطَّر المشهد بسطرين من النص في الأعلى والأسفل. وتنتمي هذه اللوحة موضوعيًا إلى القصيدة السردية \"هفت بيكار\" (السبع جميلات). يُظهر النصف الأيسر من الرسم التنين وهو يتلوّى داخل سلسلة جبلية وعرة، بألوان الأصفر المغرّي، والأزرق الفاتح، والبنفسجي، وفمه مفتوح على مصراعيه ومُحدِّقًا بالمهاجم. وعلى الجانب الأيمن، يندفع بهرام على صهوة جواده نحو التنين، رافعًا سيفه. وتجري هذه المواجهة ضمن مشهد طبيعي ذو أرضية زرقاء فاتحة، تنبض بالحياة عبر شجيرات مزهرة متنوعة، وتشكّل سحبًا في الزاوية العلوية اليمنى. وفي خضم هذا المشهد العاصف، يظهر حمار يستريح في أعلى اليسار، ملتفتًا برأسه نحو المشهد المضطرب في الأسفل.","en":"Fol. 248a depicts Bahram killing a dragon in a polygonal format extending into the three-sided marginal column format in a dynamic manner. The painting is framed by two lines of text at the top and bottom. It belongs thematically to the narrative poem of *Haft Peykar*. The left half of the picture space shows the dragon writhing in a rugged mountain range of ochre yellow, light blue, and violet hues. Its mouth is wide open, and gazes at the attacker. On the right side, Bahram charges on his horse towards the dragon with his sword raised. This scene takes place within a light blue landscape that is enlivened by diverse flowering shrubs and a cloud formation in the upper right corner. Amidst the turbulent scene, a donkey is resting in the top left, and turns its head towards the tumultuous action below."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/668deb50-e0f6-5087-82f2-0f362024fcb0.jpg","display_order":8,"alt_text":null,"captions":{"ar":"الصفحة 421a: يصور إسكندر وهو يأسر العفريت الروسي مستخدمًا حبلًا للرمي. يأتي هذا المشهد ضمن تكوينٍ متعدد الأضلاع يمتد إلى أعمدة الهوامش ذات الجوانب الثلاثة، ويُؤطَّر بسطرين من النص في الأعلى وسطر واحد في الأسفل. وتنتمي هذه اللوحة موضوعيًا إلى القصيدة السردية \"شرفنامة\". داخل المناظر الطبيعية الخضراء، يظهر إسكندر في المنتصف ممتطيًا حصانًا رماديًا، مرتديًا درعًا من الذهب والفضة، بينما يجر خلفه العفريت الأزرق ذي القرون بواسطة حبل. وفي الخلفية، يراقب جنود إسكندر المشهد، وقد حجبتهم جزئيًا التضاريس المعقدة. أحسن الرسام توظيف تشكيل الأعمدة الهامشية لابتكار تركيب قطري ديناميكي، إذ يبرز العفريت من الزاوية السفلية اليسرى، مسندًا يده اليسرى إلى جذع شجرة أو صخرة صغيرة، وهو يلتفت إلى الخلف. وقد صُوِّرت ملامحه المرعبة وبشرته بتفصيل دقيق، في تناقض مع بقية الشخصيات ومحيطها. يُرجّح أن الجزء العلوي من اللوحة والسماء قد أُعيد رسمه في مرحلة لاحقة.","en":"On fol. 421a, Iskandar captures the Russian demon with a throwing rope. The polygonal format of the painting, extending into the three-sided marginal columns, is framed by two lines of text at the top and one line of text at the bottom. It belongs thematically to the narrative poem of the *Sharafnama*. Within a lush green landscape, Iskandar, clad in gold and silver armour is depicted centrally on a grey horse, and drags the blue horned div/demon behind him with a rope. In the background, Iskandar’s soldiers are watching, partially hidden by the elaborated terrain. The painter cleverly utilized the formation of the marginal columns to create a diagonal composition, as the div is emerging out of the bottom left corner, its left hand braced on a tree stump or small rock, looking back. Its gruesome facial features and skin are elaborately depicted, and in sharp contrast with the other figures and its surroundings. The upper sector of the painting and the sky may have been painted over at a later 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from a Qur’an.","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:4","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"ee0a71f8-dc12-5d5d-b02a-4402969e8274","country_id":"tun","owner_reference":"P 227","mwnf_reference":"TN 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ابن أحمد الوراق."],"media":[],"related_items":[{"id":"31eb9c11-7709-5c38-97a0-7eefad40702d","backward_compatibility":"mwnf3:monuments:ISL:tn:Mon01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"عرض المصحف في متحف باردو حتى نقل إلى متحف الفن الإسلامي في الرقادة في عام 1959","en":"The Qur’an was exhibited in the Bardo Museum until it was moved to the Museum of Islamic Art in Raqqada in 1959.","fr":"Ce coran était exposé au musée avant d’être transféré au Musée des arts islamiques de Raqqada en 1986.","es":"El Corán fue expuesto en el Museo Nacional del Bardo hasta 1959. En aquel año fue trasladado al Museo de Arte Islámico de Raqqada."}},{"id":"620147b9-073c-55b0-9874-1ee32624af18","backward_compatibility":"mwnf3:objects:ISL:ma:Mus01_F:3","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"أوصي بهذه المصاحف للمساجد و هي مكتوبة بطراز مشابه للخط الكوفي.","en":"These Qur’ans were both bequeathed to mosques and are written in a similar style of *kufic* script.","fr":"Ces corans ont été légués à un sanctuaire, leur écriture coufique se rapproche.","es":"Ambos coranes fueron legados a mezquitas. También se puede notar que los dos coranes están escritos de manera similar en escritura cúfica."}},{"id":"7ac3ea27-a8cb-553d-b1c3-19067190a3c3","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"كلا هذين المسجدين حازا على المصاحف الموصى بها.","en":"Both these mosques were recipients of bequeathed Qur’ans.","fr":"Sanctuaires auxquels les corans ont été légués.","es":"Ambas de estas mezquitas tuvieron el privilegio de ser destinatarias de coranes legados."}},{"id":"824bc44a-ecba-5266-8efa-c68c70d08dec","backward_compatibility":"mwnf3:monuments:ISL:tn:Mon01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"كلا هذين المسجدين حازا على المصاحف الموصى بها.","en":"Both these mosques were recipients of bequeathed Qur’ans.","fr":"Sanctuaires auxquels les corans ont été légués.","es":"Ambas de estas mezquitas tuvieron el privilegio de ser destinatarias de coranes legados."}}],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"718874e8-d67c-57c0-aabc-505af50ed024","type":"object","internal_name":"Page from a Qur’an.","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:6","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"ee0a71f8-dc12-5d5d-b02a-4402969e8274","country_id":"tun","owner_reference":"Rutbi 58","mwnf_reference":"TN 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بهذا المصحف للمسجد الجامع في القيروان.","en":"This Qur’an was bequeathed to the Great Mosque of Kairouan.","fr":"Ce coran a été légué à cette mosquée.","es":"Sabemos que este Corán fue legado a la Mezquita Mayor de Kairuán."}}],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"f396e33d-9645-55ac-affd-ff0c3b5c089a","type":"object","internal_name":"Page from a 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من استخدام الخط الكوفي في كلا المثالين فإنهما متميزان عن بعضهما البعض بنموذج تصميم  الصفحات.","en":"Despite the use of kufic script in both examples, they are distinguished from each other by their page layouts.","fr":"Bien que les deux exemples soient en écriture coufique, ils se différencient l’un de l’autre par la disposition des pages.","es":"A pesar del uso de la escritura cúfica en ambos ejemplos, estos se diferencian uno del otro gracias al diseño de las páginas."}},{"id":"718874e8-d67c-57c0-aabc-505af50ed024","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:6","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"مثال على صفحة من المصحف مكتوبة بالحبر الأسود و مطعمة بالذهب مستخدمة ضمن صفحة تقليدية من تشكيل الفن الإسلامي.","en":"An example of a Qur’an page with black ink and gold gilding employed together within the traditional page layout of Islamic art.","fr":"Exemple de page de coran où l’encre noire et le doré sont employés en même temps, dans une mise en page traditionnelle en art islamique.","es":"Un ejemplo de una página del Corán con tinta negra y decoración dorada, distintivos utilizados dentro del diseño tradicional de páginas del arte islámico."}},{"id":"84f6b107-47b2-5cd1-a520-3a4f89856221","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:11","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"جلبت صفحة المصحف هذه للمتحف في اسطنبول من كنوز المسجد الأموي في دمشق.","en":"This Qur’an page was brought to the museum in Istanbul from the treasury of the Umayyad Mosque in Damascus.","fr":"Cette page de coran a été transférée du musée d’Istanbul depuis le trésor de la Grande Mosquée des Omeyyades à Damas.","es":"Esta página del Corán fue traída al museo en Estambul desde la tesorería de la mezquita Omeya en Damasco."}},{"id":"9046e802-e0a4-5cd0-ad42-5b6b93278655","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"كان يستخدم الحبر الأسود لكتابة الخط الكوفي بدلا من التطعيم بالذهب.","en":"Black ink has been used for writing in kufic script instead of gold gilding.","fr":"L’encre noire a été utilisée à la place du doré pour écrire en coufique.","es":"Se ha usado tinta negra para escritura cúfica en vez de decoración dorada."}},{"id":"da6f318d-80ce-5330-b287-e6ae140c2ff0","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:3","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"بالرغم من استخدام الخط الكوفي في كلا المثالين فإنهما متميزان عن بعضهما البعض بنموذج تصميم  الصفحات.","en":"Despite the use of kufic script in both examples, they are distinguished from each other by their page layouts.","fr":"Bien que les deux exemples soient en écriture coufique, ils se différencient l’un de l’autre par la mise en page.","es":"A pesar del uso de la escritura cúfica en ambos ejemplos, estos se diferencian uno del otro gracias al diseño de las páginas."}},{"id":"edc14340-a97e-5565-a4cb-1ff1d239124a","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"كلا المثالين القرآنيين مكتوبين على جلد الغزال و يتميزان بأمثلة رائعة من التخطيط في القرن الرابع الهجري / العاشر الميلادي.","en":"Both Qur’an examples here are written on gazelle skin and are distinguish by very fine examples of AH 4th- / AD 10th-century calligraphy.","fr":"Les deux corans sont écrits sur peau de gazelle et sont de remarquables exemples de la calligraphie du IVe siècle H (Xe siècle J.-C.).","es":"Aquí, ambas páginas del Corán están escritas en piel de gacela y se distinguen por finos ejemplos de caligrafía del siglo IV / 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In the lower part of the island of Rhodes, the *Kastello* or “Palace of the Grand Master of the Knights of Rhodes” is depicted, while the medieval fortress of Lindos is shown on the upper left. Other fortified places are arranged along the coasts, and numerous tree plantations seem to indicate the fertility of the island. On the right, on the Anatolian coast, the fortified port represented is the village of Serçe Limanı. Toponyms and additional inscriptions are added to identify the depicted geography."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/5f9a481e-1ab9-5b49-b35f-314a7248d351.jpg","display_order":5,"alt_text":null,"captions":{"en":"On fol. 73a, the full-page map sketch with a black compass rose shows Venice. At the top, a large building with a conical roof and two side towers is labelled as St. Mark's Church. Below are two other churches on a diagonal axis. The coastline with its incised canals is shown in ochre. A dense cluster of houses and towers in red and yellow indicate the urban area of the city. On the lower right, the peninsula of Istria is depicted, with the Croatian town of Poreč indicated by a toponym."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/6cca0cf3-0ecc-5d08-b4a0-f1fb9752bdfc.jpg","display_order":6,"alt_text":null,"captions":{"en":"On fol. 169b, the full-page map sketch and a black compass rose show Istanbul with its coastlines outlined in yellow. The Golden Horn and the islands in the Sea of Marmara, such as the Prince's Islands (Qızıl adalar) with the Maiden’s Tower (Kız Kulesi) are visible. On the European side, the city walls and the Galata tower are depicted on the right. Moreover, five mosques are represented in uniform stylization, showing light yellow buildings with a green dome flanked by two slender minarets each. On the opposite Anatolian Side towards Asia, the settlement of Kadıköy is represented to the left. Toponyms were added to identify the depicted geography."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/444b77a4-b3a4-5182-a919-a71475c9578e.jpg","display_order":7,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["c2953466-916b-57e9-9f3b-409c9af9afa1","e99f9b90-c624-5aa1-815f-a47f478f7da3","ea137b2c-4b18-5db2-bba2-703e333c897d"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"b5774f3e-8016-55ca-9542-099e3ef271b9","type":"object","internal_name":"Portrait of Akbar in old age","backward_compatibility":"mwnf3:objects:EPM:ca:Mus21:45","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"e0396062-330b-5c15-8ec4-2f6f68e8b2c0","country_id":"can","owner_reference":"AKM149","mwnf_reference":"CA1 45","start_date":1620,"end_date":1670,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/e1e675ec-c61a-5a9f-9483-a78bf52ed7c0.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":[],"dynasty_ids":["b866c59b-f81b-5655-972c-c4ac569b959e"],"glossary_ids":["16131753-740a-5b87-bfb9-06606e67de19","5dfb0beb-240c-5fb8-a4ba-14bd15936137","60068ca4-be84-58d0-a590-341306ae5e41","801f574d-c2f6-52a3-ae7c-6a0074f1c59b","8f750e3f-a3f4-5b39-8f9c-97cbf1eb56ec","c7ce411f-9d53-5566-8a9c-a1744854bc80","cf7d3667-7d96-58e6-af31-c5d6fe2c71b8"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"1fc8e6d4-c8c9-55d3-9f11-5d456fadc8df","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:28","kind":"gallery","slug":"paintings","legacy_host":"https://paintings.museumwnf.org","name":"Paintings"},{"id":"cccc9580-27c1-5e98-bb29-1bc60602153f","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:31","kind":"gallery","slug":"portraits","legacy_host":"https://portraits.museumwnf.org","name":"Portraits"}],"languages":["ar","en"]},{"id":"6eafd8d2-5a3d-5f7f-b16f-0753d6373196","type":"object","internal_name":"Possibly Yusuf b. 'Abdüllatif, *Sübhet al-Akhbar* (The Rosary of World History, Genealogy of Ottoman Personalities)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:20","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 50","mwnf_reference":"AT4 20","start_date":1658,"end_date":1708,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/8bbe78f1-013f-5a98-9c9a-3f7535aa40e5.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/65a15bff-e437-5866-8a23-20fb8329dd91.jpg","display_order":2,"alt_text":null,"captions":{"en":"The gold pediment motif just above is interspersed with vines and dominated by a polychrome palmette flower on a blue background. To the sides of this motif, the decoration is repeated symmetrically on a purple background. The blue filigree ornaments extending upwards into the upper margin also incorporate flowery palmette shapes."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2d4ed619-3499-5b08-bcb0-1b6d09eb83f5.jpg","display_order":3,"alt_text":null,"captions":{"en":"On fol. 4b, the family tree composition is introduced by an arch, the spandrels of which are filled with floral tendrils on a purple background. The blank paper background underneath is enlivened with gold floral vines. Underneath the arch, a large medallion depicts the two seated figures of Adam and Eve in conventional three-quarter profile, situated in a meadow with sparse red flowers and facing each other. According to the radially arranged text, the angel Gabriel brought the Holy Scriptures to Adam, symbolised by the book in Adam’s hands. The absence of the angel’s wings, contrary to earlier depicted scenes of this kind, allows for the youthful figure on the left to be interpreted as Eve rather than Gabriel, because the physical gesture of handing over the book is not depicted. Both have a flaming aureole extending outside of the roundel, yet they do not have any headdresses. The red and blue lines extending from them lead to smaller illustrated or inscribed medallions. On the right, Habi (Abel) is kneeling against a gold background, with his hand pensively raised to his face. His brother Qabil (Cain), in contrast, is depicted in the medallion below, kneeling before a golden fire burning against a black background. As a fire worshipper and fratricide, he is highlighted as a particularly evil figure. Moreover, his face is shown in profile, different to the three-quarter views of the other figures. Opposite of Habi, 'Abdalharith, a son of Adam and Eve, is shown, who also kneels before a golden background, with his hands raised in front of his body. Beneath him, Kayumarth (Gayumars), the first Persian ruler, is depicted seated cross-legged on a green meadow."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/0d2af37a-87bf-51f9-a7aa-bc44b916520a.jpg","display_order":4,"alt_text":null,"captions":{"en":"Fol. 6b highlights six figures by their illustrations, contrasted with a multitude of inscribed medallions. At the top centre, the white-bearded Ishaq (Isaac) is shown with a flaming aureole on a red ground, his bent right leg embraced by his arms. His eyes are downcast, perhaps signalling he is gesturing inward as if meditating. To the right, Isma'il (Ishmael), the ancestor of the Arabs, is shown dressed in green with a flaming aureole before a gold background. On the right, a ram is depicted on the meadow, the animal that Abraham sacrificed instead of Isma'il. Following the genealogical line to the bottom right, Ya'qub (Jacob), one son of Isaac, is presented in a purple dress with a flaming aureole. He is sitting down and holding a cloth (medil) to his cheek, his elbow supported by the right leg, seemingly asleep. Alternatively, his eyes could be closed in deep contemplation. To the left, 'Is (Esau), the other son of Isaac and forefather of the Ottomans, is seated cross-legged, also with a flaming aureole. Above them on the left-hand side, two Persian legendary figures are represented: Nariman, the son of Garshasb, who was the father of Sam, is wearing elaborate armour and seated cross-legged, a mace as an attribute beside him. Below, Afrasiyab, the king of Turan, is also donning luxurious armour and red-blue garments. A dagger is sheathed in his belt, and he holds an arrow in his raised right hand."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/12840c97-901d-51c4-b8b8-f6942cc721b9.jpg","display_order":5,"alt_text":null,"captions":{"en":"On fol. 8a, six figures are singled out by illustration. At the top, Da'ud (David) with a flaming aureole is kneeling on a meadow and holding chain mail armour. Underneath, Sulaiman/ Suleyman (Solomon) is depicted with a flaming aureole, sitting cross-legged before his messenger, the talking hoopoe (Hudhud). At the bottom of the page, four figures are arranged symmetrically: in the top right, Zakariya (Zacharias) wears a purple robe and has his hands clasped together. He faces Iskandar Du'l-qarnain (Alexander the Great), who wears an elaborately decorated crown and a sleeveless caftan over an orange robe. The youthful Yahya (John the Baptist) is depicted below Zakariya, and has his head nestled in his right hand, which rests on his raised right leg, where he appears to be asleep in a flowery meadow by a stream which probably denotes the Jordan river. Next to him, Isa (Jesus) is shown with a beard and long brown hair without any head covering. His aureole is distinguished from the others by additional red rays extending from the flaming halo. He holds a book, likely the Bible, under his arm."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/d3e5dc88-deb0-5617-9c6b-aed0803d94ff.jpg","display_order":6,"alt_text":null,"captions":{"en":"Fol. 8b highlights six figures, with one figure in the centre particularly emphasised. At the top, 'Abdalmuttalib, the grandfather of Muhammad, is seated almost frontally in a cross-legged seated position, wearing a blue garment. Beneath him, the Prophet Muhammad, the founder of Islam, is represented in the largest medallion on the page with a flaming aureole, a green turban, a face veil, and a purple robe, his hands hidden under long sleeves. He is also depicted almost frontally in a cross-legged sitting position. Underneath, four caliphs are represented: to the left, Abu Bakr is shown, while 'Omar is depicted underneath him; to the right, 'Othman holds the Quran under his left arm, with 'Ali beneath him."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/b08da7f0-90c2-5f6b-8cfc-4d1c7a7e820f.jpg","display_order":7,"alt_text":null,"captions":{"en":"On fol. 14b, two figures are represented in three-quarter profile before a highly decorated cross-oblong decorated back pillow. At the top, Selim I. Yavuz, Ottoman ruler from 918 AH /1512 AD to 926 AH / 1520 AD, is shown with a moustache and holds a golden mace, denoting him as a great conqueror. At the bottom, the white-bearded Suleyman I Qanuni, Ottoman ruler from 926 AH /1520 AD to 974 AH / 1566 AD wears a pink fur-lined caftan and a similarly elaborate high turban."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2a9a809a-cace-5a53-8ad4-75aa4e364444.jpg","display_order":8,"alt_text":null,"captions":{"en":"Fol. 16a reveals the portraits of three important Ottoman sultans. At the top, Murad IV, Ottoman ruler from 1032 AH / 1623 AD to 1049 AH / 1640 AD, is depicted in a martial manner, equipped with chain mail, a sword in his right hand, and his bow in a quiver. His elaborate helmet is decorated with three plumes, and his bright red cape accentuates the details of his armour. In the centre, Ibrahim I, Ottoman ruler from 1049 AH / 1640 AD to 1058 AH / 1648 AD is seated before a luxurious back pillow, donning a fur-lined orange caftan over a pink robe. The last painting represents the figure of Mehmed IV, the Ottoman ruler from 1058 AH / 1648 AD to 1099 AH / 1687 AD. He is singled out due to the large golden throne with a high-rising back overlapping with the strongly emphasised medallion frame. The overlapping throne may be a reference to his contemporaneity. He is sitting in a European manner, facing slightly right, and a court official (*Hass Oda Ağası*) with a red Janissary headdress stands to his left. The sultan wears a tall white Selimi turban with three ostrich feather agraffes and a sable-lined long silver brocade caftan decorated with punched gold medallions over a turquoise robe. Underneath the throne within the medallion, the artists’ signature of Hüseyin al-Istanbuli is visible. The painter was possibly an artist of the court workshop, as reflected by his style, the meticulous execution, and the luxurious gilding."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/2b6a3044-17fb-5035-ac44-36bfb72b904c.jpg","display_order":9,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["4bf57925-24ce-5fb1-a7b2-f0e77263ecf1","a192d3cd-8c84-5f57-b39a-1c80115ad0e5","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["16131753-740a-5b87-bfb9-06606e67de19","8f750e3f-a3f4-5b39-8f9c-97cbf1eb56ec","aea62142-bf4f-5655-8c52-b1e856151ce7","ea9e06ca-7872-5541-9ac2-11302f8890c2"],"artist_names":["حسين 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Museum"}],"tag_ids":[],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["c2953466-916b-57e9-9f3b-409c9af9afa1","ea137b2c-4b18-5db2-bba2-703e333c897d"],"artist_names":["'Abd al-Qadir Hisari"],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water in Islam"},{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["en"]},{"id":"2d7d148e-c180-5cf1-813a-f3b4c6cdb469","type":"object","internal_name":"Prayer book.","backward_compatibility":"mwnf3:objects:ISL:se:Mus01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"5db20458-bdcf-5050-98fb-3fb2d1392a0a","country_id":"swe","owner_reference":"MMI 1996:001","mwnf_reference":"SE 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ليست فقط اتجاها جغرافيا و لكنها ترمز لتوجه الحياة برمتها.","en":"Mecca is not only a geographical direction, but symbolises the orientation of the whole life.","fr":"La Mecque n’est pas seulement une direction géographique, mais symbolise l’orientation de toute une vie."}},{"id":"0cf1a62f-ad34-5894-aee0-ed8e36e2513a","backward_compatibility":"mwnf3:objects:ISL:it:Mus01:3","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"الكلمة  المقدسة و الأماكن المقدسة في مكة و المدينة كانت تذكر في الحياة اليومية.","en":"The Divine word and the Holy places Mecca and Medina were recalled in different ways in daily life.","fr":"Le mot Divin et les lieux saints de La Mecque et de Médine étaient rappelés de différentes manière dans la vie quotidienne."}},{"id":"8d5a8b6b-9b7a-5d86-a103-56328d85c92a","backward_compatibility":"mwnf3:objects:ISL:uk:Mus04:40","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"اليد في بعض 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décoration du panneau est comparable à celle de la koubba almoravide de Marrakech."}},{"id":"58795bcd-ccdb-5864-9339-10070911c4a4","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:6","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"fr":"La koubba almoravide est le seul vestige de la grande mosquée d’Ali ibn Youssef pour laquelle a été fabriqué le minbar."}},{"id":"672e5d81-e294-5bdc-9691-e88fb689a760","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:4","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"كلا نسختي القرآن الكريم  موصى بهما للحرم و طراز كتابتهما متشابه.","en":"Both Qur’ans were bequeathed to a sanctuary. Their writing styles are similar.","es":"Los dos Coranes fueron legados a un santuario. Sus estilos de escritura son similares."}},{"id":"7ac3ea27-a8cb-553d-b1c3-19067190a3c3","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"الحرم الذي أوصي له بنسخة القرآن الكريم ( وقف  )  يمكن أن يكون جامعة مسجد القرويين في فاس  في المغرب.","en":"The sanctuary to which this Qur’an was bequeathed (*habus*) could have been the Qarawiyyin Mosque University in Fez.","fr":"Le sanctuaire auquel ce coran a été offert en biens *habous* est peut-être la mosquée-université Qaraouiyne de Fès.","es":"El santuario al que legaron este Corán (*habús*) pudo estar en la universidad de la Mezquita Qarawiyin en 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16","start_date":1425,"end_date":1475,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/60c6c7f0-f930-5ee9-b946-93b6b2db7ecd.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/024bc5c4-2cad-5944-aa99-2075ad1ef739.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":["e964533f-5908-5365-8d9d-aef12a9ec695","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","c9d77b1b-fdcd-545f-99ac-a099fe0ddf06","dff4888b-d395-59e8-afaa-53d1ba9aee69","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["cc058ff2-1729-58a0-be91-e1ac612c1fe2"],"glossary_ids":["0f26046e-3b67-5601-baf6-72d291d77ad0","0f3fb66d-a491-591b-a0c2-56e11ec481aa","38031924-6b4f-5fb1-9337-c0222f9b16d2","44562f82-b0b6-5353-939a-47fccfb7fa3c","5c212d06-15e4-5918-a02d-bb0ef2c59fe1","64d6c154-9408-5c99-93c4-4d53ffce9b15","720487c1-6546-5ad8-96ce-6caedac4ddab","9b57e731-19ab-55da-8b80-25d31d0f41c3","9f4d1152-e032-5509-a8f6-ac7d6117d2d3","a95bf8cd-02b1-5d88-b68d-c21999469de6","ab5197e2-ba37-5f84-9a8c-1bc168852cbc","aea62142-bf4f-5655-8c52-b1e856151ce7","af45d65f-d61d-59ed-bd55-76ee503119e9","b29a1eb8-4d03-527c-a470-6d9b2d53269c","bd6ee598-f323-5770-a786-0151295aea83","c2953466-916b-57e9-9f3b-409c9af9afa1","c39cd815-3b51-5b89-a4e4-5e9f2c0ca622","c44302b7-5b2a-5247-b1b7-8c1a06993aa4","c47920b0-c22e-53d0-aa8c-93eb3956ca0e","c98013e1-9336-5b90-9d71-2658cca1e0ca","d71360cd-eac1-5408-b6b3-59ad3d8464b9","dcd58376-8ba5-5488-bec0-53d4cf2fa497","f3052f85-4db5-5572-a790-f3dc9a248659"],"artist_names":[],"media":[],"related_items":[{"id":"20ddf7d0-c8c3-5985-8cd5-4be93c3b922b","backward_compatibility":"mwnf3:objects:ISL:de:Mus01:31","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"صندوق لحفظ القران.","en":"A box used to preserve a Qur’an.","fr":"Boîte utilisée pour protéger le coran.","es":"Una caja utilizada para preservar un Corán."}},{"id":"2a065963-1f3a-55a6-a2d4-006e151c3d3f","backward_compatibility":"mwnf3:objects:ISL:eg:Mus01:17","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"جزء من آيات القران.","en":"Part of a Qur’anic manuscript.","fr":"Partie d’un manuscrit coranique.","es":"Parte de un manuscrito coránico."}},{"id":"54e60e87-a0d4-5416-b5e8-03ace6751eca","backward_compatibility":"mwnf3:objects:ISL:se:Mus01:6","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"صفحة من آيات القران.","en":"A page from a Qur’anic manuscript.","fr":"Page d’un manuscrit coranique.","es":"Página de un manuscrito coránico."}},{"id":"9c99c966-ce63-54c0-ab28-822914e17003","backward_compatibility":"mwnf3:monuments:ISL:sy:Mon01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"هذا المسجد أحد معالم جقميق, مالك المصحف.","en":"This mosque is one of the monuments of Jaqmaq, the owner of the Qur’an manuscript.","fr":"Cette mosquée est l’un des monuments de Jaqmaq, le propriétaire du manuscrit coranique.","es":"Esta mezquita es uno de los monumentos de Yaqmaq, el dueño del manuscrito Corán."}},{"id":"cf2da5c2-0d20-5dbf-a2aa-c9244ad7d708","backward_compatibility":"mwnf3:objects:ISL:sy:Mus01:35","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"آيات من القران مشابهة في التصميم والخط","en":"A Qur’anic manuscript which is similar in decoration and script.","fr":"Manuscrit coranique à décoration et écriture similaires.","es":"Un manuscrito coránico similar en decoración y 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35","start_date":1400,"end_date":1600,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/daaef5e1-702b-54c7-8fba-3e28ee2757c2.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/ac24c740-c522-5e97-94c6-292f042c9774.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/622735ce-bfc2-58c1-add9-19d8753e15e2.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":["a2f3be51-66ef-5bc7-af28-9f51b89ea8b0","fa0deb2b-6423-58bb-ae98-288cf61756c8","6c6706e2-03ad-581b-8458-9f863db19398","9730aa30-6a7d-550f-bf5f-a9292f650d1d","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["a999b9e1-b986-5792-8f1c-7764cd952822"],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa","2003ec95-a720-51cb-9dcd-774d9dc9f389","201d853b-4474-51af-9e70-8502823535b6","44562f82-b0b6-5353-939a-47fccfb7fa3c","5805ea4d-515f-570c-944e-b39504e35c2a","8383edc1-0cb4-52fa-9e3a-219b3a940129","8ffa05a8-a165-5e2c-b72e-27e8d5f953ac","95fc5a14-1b29-5364-810a-69fc76087256","9a8096ea-a204-590a-8744-2ddf28c2b6b8","a054eff3-ab33-572b-8c6c-47a7d300c111","c18561f3-9ed2-5c21-92a7-c3476d781d57","c2953466-916b-57e9-9f3b-409c9af9afa1","e0e8a76f-5937-523a-b87b-6d2a0c6528d7"],"artist_names":[],"media":[],"related_items":[{"id":"73ee9799-8943-512c-8b0d-912b647a3170","backward_compatibility":"mwnf3:monuments:ISL:ma:Mon01:30","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"بنيت قصبة الشيفشاون في الزمن عندما كان ينسخ  القرآن.","en":"The Chefchaouen Kasbah was built at the time when this Qur’an was transcribed.","fr":"La casbah de Chefchaouen a été construite à l’époque où a été transcrit ce coran.","es":"La qasbah de Chefchaouen se construyó en la época en que se transcribió Corán."}},{"id":"a16a6766-7c75-5cbd-9606-e910423fd3b2","backward_compatibility":"mwnf3:objects:ISL:ma:Mus01_C:42","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"المصحف هو من نفس الفترة العائدة لركنية العقد الخشبي.","en":"The Qur’an is from the same period as the wooden spandrel.","fr":"L’écoinçon en bois lui est contemporain.","es":"El Corán es del mismo periodo que la enjuta de madera."}}],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"d8d5a5cd-689f-5f68-bcf7-940b003039aa","type":"object","internal_name":"Qur’an.","backward_compatibility":"mwnf3:objects:ISL:tr:Mus01:20","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"c0c2fa4f-c38c-578e-8cc1-4703cc60b8a9","country_id":"tur","owner_reference":"402","mwnf_reference":"TR 35","start_date":1475,"end_date":1525,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/e9d05620-ff2c-503c-9a51-01b5c162c7e8.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null},{"url":"https://inventory.metanull.eu/pub/64d52569-3e27-5a5a-94dc-7cea7b98bfdc.jpg","display_order":2,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":["76dcd1a4-2739-54b2-beab-f439016a3c5c","a192d3cd-8c84-5f57-b39a-1c80115ad0e5","a23fdac4-51c5-58e8-bc50-67cb2d2a1afc","ae00ec97-371f-50a0-a793-494d36453d82","8f28215c-284d-5680-8235-477b003ec8c9","0e3ac004-1d90-5f5e-8d11-48dce1a11138","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c9d77b1b-fdcd-545f-99ac-a099fe0ddf06","dff4888b-d395-59e8-afaa-53d1ba9aee69","be6947a9-29ca-53b9-8900-270b1ff97aeb","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["f1cbe826-876f-50ce-b965-80fab0039660"],"glossary_ids":["0f3fb66d-a491-591b-a0c2-56e11ec481aa","199be476-a6fb-5584-8c39-6af25455b9be","2003ec95-a720-51cb-9dcd-774d9dc9f389","38031924-6b4f-5fb1-9337-c0222f9b16d2","44562f82-b0b6-5353-939a-47fccfb7fa3c","455c1318-16a9-50f2-9c44-6643a9de238c","5c212d06-15e4-5918-a02d-bb0ef2c59fe1","76676210-58c4-5de1-89e6-594e4175ceac","8ffa05a8-a165-5e2c-b72e-27e8d5f953ac","99e11148-863b-5916-afb5-d3b71fb5abe5","9b186b78-e2d1-571a-a002-8f22a51690ff","a0a0b21a-5425-5de1-8d04-b7fd7daeca8b","a4f8f7c7-245b-5188-b8fe-8085676b0785","a95bf8cd-02b1-5d88-b68d-c21999469de6","aea62142-bf4f-5655-8c52-b1e856151ce7","b64a1f79-8f29-5ad4-8e98-379f8e05cb1b","c2953466-916b-57e9-9f3b-409c9af9afa1","c47920b0-c22e-53d0-aa8c-93eb3956ca0e","cc1e247a-53d7-5c70-9399-89357963e5cf","e0e8a76f-5937-523a-b87b-6d2a0c6528d7","e6ca4d52-63e1-5c91-8d45-5c007bd19735","f21a9ff0-ae8f-5ff9-be18-36b4a4db6794","fb4643f3-3421-5aaa-8b4f-85806f394bac"],"artist_names":["الخطاط: الشيخ حمدالله (حوالي 840 - 926 / 1437- 1520)."],"media":[],"related_items":[{"id":"32434888-ecb9-5b5b-bdc6-bc81ab4851b0","backward_compatibility":"mwnf3:monuments:ISL:tr:Mon01:24","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"عمل خطاط هذا المصحف الشيخ حمد الله في ورشات قصر توبكابي المشهورة عالميا.","en":"The calligrapher of this Qur’an, Sheikh Hamdullah, worked in the workshops of the world-famous Topkapı Palace.","fr":"Le calligraphe de ce coran, le cheikh Hamdullah, travaillait dans les ateliers du palais de Topkapı, de réputation mondiale.","es":"El calígrafo de este Corán, Seyj Hamdullah, trabajó en los tálleres del mundialmente famoso palacio Topkapi."}},{"id":"efc1e427-4c81-58f3-a2ae-e846616be1e3","backward_compatibility":"mwnf3:objects:ISL:tr:Mus01:26","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"مثل هذه المخطوطات الرائعة للمصحف حفظت في خزائن خشبية و التي هي نفسها أعمال فنية 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Muslih (ad-Din), *Bustan* (Fruit Garden)","backward_compatibility":"mwnf3:objects:EPM:at:Mus24:22","project_id":"928f5e0d-53e3-5f53-b9c2-5af389c30dd4","partner_id":"eb85e872-a703-5108-9494-d79d8afc80b8","country_id":"aut","owner_reference":"A.F. 103","mwnf_reference":"AT4 22","start_date":1505,"end_date":1565,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/dd897a74-d587-5bab-8ff6-776c37372473.jpg","display_order":1,"alt_text":null,"captions":{"ar":"كلا الوجهين الداخليين (الدوبلير) مزخرفان بالذهب والأزرق الداكن باستخدام تقنية النقش باللكر. تم تقطيع الميدالية المركزية وزوايا الحشوات بنقوش بارزة، بعضها مطبوع على البروز والبعض الآخر مُنفذ يدويًا بقلم أسود. في الميدالية، يظهر تنين على الطراز الصيني بجناحين ناريين وفم مفتوح، يلتف صاعدًا نحو قمة شجرة مورقة، مع فروع صغيرة تظهر في المعلقات. في الزوايا العليا، تجلس الطيور على الأغصان، وفي الزوايا السفلية، يُصوَّر الأسود. الخلفية الزرقاء تبرز بشكل واضح مقابل الأجزاء المذهبة البارزة في النقش.","en":"Both doublures are decorated in gold and dark blue in a lacquer relief technique. The central medallion and the corner fillings are cut out in a relief decoration that is partly embossed and partly executed by hand with a black pen. In the medallion, a Chinese-style dragon with fiery wings and an open snout appears to wind its way to the top of a leafy tree, with small branches shown in the pendants. In the upper corner spandrels, birds are perched in the branches, and in the ones below, lions are depicted. The blue background is in stark contrast to the raised gilded parts of the relief."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/42635c76-f21c-5f0a-b433-20727be6b9aa.jpg","display_order":2,"alt_text":null,"captions":{"ar":"تعرض الصفحة 2a ميدالية على شكل نجمة *شمسية* أو ميدالية وردية مكرَّسة باللونين الأزرق والذهبي، تحتوي على عنوان الكتاب واسم الشاعر مكتوبين بخط *ثلث* أبيض داخل الدائرة الذهبية في الوسط. تحيط بها شريط من الكاروشات السوداء المزخرفة بأغصان نباتية متداخلة مع الذهب. تم تشكيل شكل النجمة من خلال أشكال أرابيسك مسننة دقيقة بالذهب مع وجود أشكال بالميتة بينها. الخلفية زرقاء داكنة ومحاطة بأشكال معلقة ذهبية تُكوِّن وردة نجمة ذات 12 نقطة. تمتد الكروم الزهرية على كامل التركيبة الخارجية، وفي الأعلى والأسفل تحتوي معلقتان على شكل معين على أدعية للمالك المجهول للكتاب مكتوبة بالخط الأزرق الفاتح. تليها المزيد من المعلقات الزرقاء المزخرفة بالأرابيسك الذهبي داخلها.","en":"Fol. 2a shows a *shamsa* or dedicatory star-shaped rosette medallion in blue and gold that contains the book title and name of the poet in white *thuluth* script within the circular golden area in the centre. It is framed by a band of black cartouches with flowery vines, interspersed with gold. The star shape is created through delicate serrated arabesque shapes in gold with palmette forms in-between. The background is of a dark blue that is outlined with golden pendant shapes creating a 12-pointed star rosette. Floral tendrils span over the whole outer composition, and towards the top and bottom, two lozenge-shaped pendants contain blessings for the unnamed owner of the book in light blue script. These are followed by further pendant motifs in blue with gold arabesques within."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/390abe27-2dba-52df-b7f9-3952b42125c0.jpg","display_order":3,"alt_text":null,"captions":{"ar":"في الصفحة 2b يسبق الحقل الزخرفي الأولي (*'unwan/sarlauh*) بداية القصيدة المكتوبة في أربعة أعمدة. تشمل التركيبة المزخرفة بعناية حقل عنوان مستطيل كبير مع تربة مسننة خفيفة في الأعلى. يغطي اللونان الأزرق والذهبي شبكة من الكروم الزهرية المتشابكة. كُتب العنوان بخط *ثلث* أبيض على خلفية ذهبية ضمن حلقات من الشرائط البيضاء. يتباين الأزرق الداكن المضيء بانسجام مع المقاطع الغائرة على شكل الماسة والمعلقات، والتي تميزت عن بعضها البعض بدرجات ذهبية مختلفة.","en":"On fol. 2b, the initial ornamental field (*'unwan/sarlauh*) precedes the beginning of the poem that is written in four columns. The finely ornamented composition includes a large rectangular title field with a slightly serrated pediment above. The blue-and-gold colour scheme is overlain with a network of flowery tendrils. The title is written in white *thuluth* script on a golden background within loops of white bands. The luminous dark blue harmoniously contrasts with the recessed diamond- and pendant-shaped segments distinguished from each other by different shades of gold."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e173aa64-5dd8-5bfe-82e5-7e768b94d16f.jpg","display_order":4,"alt_text":null,"captions":{"ar":"في الصفحة 8b توجد لوحة مستطيلة ضمن كتلة النص، تاركة أربعة أسطر من الكتابة في الأعلى وسطرًا واحدًا في الأسفل، وتمتد إلى الهامش الخارجي. يظهر الداخل المركزي المزخرف ببذخ مع الشاه على العرش، والوزير الذكي جالسًا على الأرض إلى اليسار، والشابان الواقفا إلى اليمين، مؤطرين بمشهدين خارجيين يبدو أنهما مكتفيان بذاتهما. وفقًا للقصة، يتعرض الوزير الحكيم للتشهير من قبل منافسه الغيور، الذي يتهمه بعلاقات غير شرعية مع أحد الشابين الجميلين في مرافقة الحاكم. يدافع الوزير عن نفسه موضحًا للشاه أنه يرى في الشاب صورة شبابه الذي مضى بسرعة وفُقد الآن. يصدق الشاه كلماته المقنعة. في ما يمثل على الأرجح قاعة العرش، يجلس الشاه متربعًا على عرش ذهبي مزخرف ببذخ أمام جدار من الجص البنفسجي مع رسوم حيوانات برية في منظر طبيعي، ويده اليمنى مرفوعة في إيماءة كلامية تجاه الشابين أمامه. الوزير بجانبه يرفع يده اليسرى بطريقة تفسيرية. على اليسار، يظهر خارج القصر اثنان من الحاشية يتحدثان على شرفة الحديقة، وفي الخلفية شجرة مزهرة وتضاريس تلالية. على اليمين، يبرز واجهة القصر للخارج، كاشفة عن شخصيتين ذكوريتين واقفتين في نافذة تواجهان بعضهما البعض، بالإضافة إلى شاب يتجسس من السطح. أمام الباب نصف المفتوح، يجلس رجل بعكاز ، ومن المحتمل أنه البواب ويشير إلى الشاب أمامه. يقف الأخير أيضًا على شرفة الحديقة، مع وجود شجرة سرو وشجرة مزهرة وتل في الخلفية. يرتدي الشخصيات عمائم رسمية فوق وجوههم المرسومة بدقة باستثناء واحد يرتدي قبعة مبطنة بالفرو، ويرتدون أردية بألوان مختلفة. يتم التعبير عن المحتوى السردي من خلال مجموعات شخصيات متنوعة وديناميكية؛ ومع ذلك، فإن الطابع الزخرفي التمثيلي للعمارة واهتمامه بالتفاصيل مذهل للغاية.","en":"Fol. 8b includes a rectangular painting within the text block – leaving four lines of script at the top and one line of script at the bottom – that extends into the outer margin. The central, luxuriously decorated interior with the shah on the throne, the clever vizier sitting on the floor to the left, and the two standing youths on the right are framed by two outdoor scenes that appear to be self-contained. As the story goes, the wise vizier is slandered by his jealous rival, who accuses him of having illicit relations with one of the two beautiful youths in the ruler’s entourage. The vizier defends himself by explaining to the shah that he sees in the youth only the image of his own youth that passed so quickly and is now lost. The shah believes his convincingly delivered words. In what likely represents the throne room, he is seated cross-legged on a richly decorated golden throne before a purple stucco wall with blue renderings of wild animals in a landscape, his right hand raised in a gesture of speaking to the two youths before him. The vizier beside him has his left hand raised in an explanatory manner. On the left, the palace exterior reveals two conversing courtiers on a garden terrace, in the background a flowering tree and a hilly landscape. On the right, the palace façade is jutting outwards, revealing two male figures standing in a window, facing each other, as well as a spying youth from the roof. In front of the half-open door, a man with a cane – likely the doorkeeper – is sitting and gesturing to the youth in front of him. The latter is also standing on the garden terrace, with a cypress and flowering tree of the garden as well as a hill behind him. The figures wear staff turbans over their delicately drawn faces except one, who wears a fur-lined hat instead, and don differently coloured robes. The narrative content is expressed through varied and dynamic figural groups; yet the ornamental-representative character of the architecture with its attention to detail is astonishing."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/a63a906b-9fd3-51d5-8b32-fccdf7681d1c.jpg","display_order":5,"alt_text":null,"captions":{"ar":"في الصفحة 27a، تظهر اللوحة المستطيلة الممتدة إلى الهامش الخارجي عالم تقي مع ضيوفه في أرض الروم. عكس القصة رجلًا صالحًا مشهورًا في أرض الروم استقبل ضيوفه المسافرين بحرارة، لكنه اهتم فقط برفاههم الروحي دون الجسدي، الأمر الذي وصفه الضيوف بالهمجية. تقع المجموعة المركزية داخل مكان مزخرف ببذخ، مع بلاط مفصّل، ورسوم على الجدران، وسجاد؛ وتوفر نافذة خلفية منظرًا لشجرة مزهرة في الحديقة. على السجادة يجلس خمسة كتّاب مسلمون. أمام الرجل المرتدي الأزرق والبني، ومن المحتمل أنه المضيف. يوجد كتابان على الأرض، ويشير بيده نحو مجموعة من ثلاثة أشخاص أمامه، يظهرون في أوضاع مختلفة من الحديث: أحدهم يتحدث مع المضيف بينما يتحدث الرجل الثاني مع الرجل الثالث الذي يستمع بانتباه. يبدو أن الرجل إلى يمين المضيف صامت ويراقب المحادثات الجارية. في الوقت نفسه، في الخارج على شرفة الحديقة أمام منظر التلال وشجرة مورقة، يتحدث شخصان. يجلس شاب مقابل صبي يقرأ كتابًا، مستندًا على ركبه المرفوعة للكتابة. ويوجد كتاب وأداة كتابة ملقاة على الأرض بالقرب منهما. قد توحي أشكال عمائمهم المستديرة غير الصفوية بأن الفنان ربما استند إلى نموذج تموريدي أقدم. ومع ذلك، من المحتمل أيضًا أن الرسام اختار عمدًا عدم تمثيل الموضة البلاطية ليشير إلى فقر العلماء وتواضعهم.","en":"On fol. 27a, the rectangular painting extending into the outer margin depicts a pious scholar with his guests in the land of Rum. It reflects the story of a famous holy man in the land of Rum who received his well-travelled guests warmly but only took care of their spiritual and not their physical well-being, which the guests declared barbaric. The central group is located in a luxuriously decorated interior, with elaborate tiles, wall paintings, and carpets; a rear window offers a view of a blossoming tree in the garden. On the carpet, five Muslim scribes are seated. Before the man clad in blue and brown – likely the host – two books are lying on the ground, and he is gesturing towards the group of three people before him, who are shown in different modes of talking: one is conversing with the host while the second man is talking to the third man, who listens intently. The man to the right of the host appears to be silent and observes the ensuing conversations.  Simultaneously, in the exterior space on a garden terrace before the hilly landscape and a leafy tree, two figures are conversing. A young man is sitting opposite a boy who is reading a book, using his raised knee as a support for writing. A book and a writing utensil are lying on the ground nearby. Their round, non-Safavid turban forms may suggest that the artist might have used an older Timurid model. However, it is also likely that the painter deliberately chose not to represent courtly fashion in order to refer to the poverty and modesty of the scholars."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/83f70f85-77de-5a99-b70a-7e5925d8544c.jpg","display_order":6,"alt_text":null,"captions":{"ar":"في الصفحة 33a، تتضمن اللوحة المستطيلة الكبيرة داخل نص المخطوطة، ممتدة إلى الهامش الخارجي، تاركة بيتين من الشعر في الأعلى، والبيتَين المستمرين من نفس الأبيات بالإضافة إلى ثلاثة أبيات أخرى في الأسفل. تصور الحكاية ابن الملك وفتى المتسول، كمثال على الحب الحقيقي غير الأناني؛ فقد أحب ابن المتسول ابن الملك الشاب حبًا شديدًا لدرجة أنه تبعه في كل مكان، رغم أنه لم يكن ينال سوى الضرب والتأنيب. تدور المشهد في منظر طبيعي من التلال الخضراء والزرقاء أمام خلفية ذهبية مزينة بسحب على الطراز الصيني، وجريان جدول فضي يتدفق من صخرة ويتجه نحو الأسفل، محاط بالصخور والعشب والزهور في المقدمة. يقترب رفقاء الأمير المرتدون عمائم الصفويين من اليسار؛ بينما يمسك ابن الملك بخيله بشدة أمام ابن المتسول، الذي يرتدي رداءً أزرق قصيرًا وعمامة بسيطة، على اليمين. في الأعلى، يتبع الأمير فارسَان يتحدثان، بينما يظهر شاب آخر على حصان وآخر سيرًا على الأقدام حاملين القوس والسهم أسفلهم. يوجد رجل نصف مختفٍ خلف التلة في أعلى اليمين يشهد اللقاء بين الشابين من طبقات اجتماعية مختلفة. ميلان خطوط المنظر الطبيعي وكذلك تكوين الشخصيات يوجهان عمدًا عين المشاهد نحو ابن المتسول الذي يبدو بخلاف ذلك غير بارز كثيرًا.","en":"Fol. 33a includes a large rectangular painting within the text block, extending into the outer margin, and leaving two verses of text at the top and the continuing two verses of the same lines as well as three more lines at the bottom. The anecdote depicted is of the king's son and the young beggar, an example of true, unselfish love; the beggar’s son loved the king’s young son so much that he followed him everywhere, even though he only received blows and scolding. The scene is set in a hilly, green-blue landscape before a golden background enlivened with Chinese-style clouds, and a silver stream splashing out of a rock and flowing downwards, framed by rocks, grass, and flowers, in the foreground. The prince’s entourage with Safavid staff turbans is approaching from the left; the king’s son is fiercely reining in his horse before the beggar’s son, clad in a short blue robe and a simple turban, on the right. At the top, two conversing riders follow the prince, while another youth on a horse and one on foot, carrying bow and arrows, are located below them. A male figure, half-hidden behind the hill on the top right, witnesses the meeting between the two youths from different societal strata. The slant of the landscape lines as well as the figural composition deliberately draw the viewer’s eye to the beggar’s son who otherwise appears rather inconspicuous."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/e5b6df2b-e771-51bf-9f94-53fe84441cce.jpg","display_order":7,"alt_text":null,"captions":{"ar":"في الصفحة 50b، تتضمن اللوحة قصة أخلاقية تمثل الله وهو يوجه الأقدار بثبات كما يفعل ربان السفينة، وتمتد إلى الهامش الخارجي. يظهر في الأعلى والأسفل من الصورة سطر واحد وآية واحدة. هنا يُشَبَّه الله بالربان الذي يواصل السير نحو هدفه دون أن يحيد، حتى ضد إرادة رفقائه في السفينة. يُصوَّر عمق الماء المحيط بالسفينة بالفضة (التي تأكسدت وأصبحت داكنة الآن) بتجاعيد موجية متقنة، تنبض بالحياة عبر مجموعات كبيرة من الأسماك، وسلحفاة بحرية في أسفل اليمين، وزوج من البط في أسفل الوسط. في هذه المياه الكثيفة، تظهر سفينة شراعية بأشرعتها مطوية، ويبرز مجموعة كبيرة من الأشخاص في تباين حاد وواضح مع المياه الفضية بملابسهم الملونة ذات النقوش الدقيقة وعمائمهم المستديرة. في الأمام، على اليسار، يظهر الربان أكبر قليلًا من الركاب، وهو يقود السفينة بعصا مجداف طويلة، غير مبالٍ تقريبًا بمجموعة الأشخاص خلفه. يتم تصوير الركاب بتعابير متنوعة، بعضهم يرفع يديه. يظهر شخصان وكأنهما ينظران إلى الصاري، حيث يجلس شخص مرتدٍ رداء أزرق، وهو يمزق ردائه بحزن.","en":"On fol. 50b, a painting representing the ethical anecdote of God unwaveringly steering destinies like the master of his ship is shown, and extends into the outer margin. One line and one verse are visible at the top and bottom of the illustration. Here, God is compared to a helmsman who unswervingly pursues his goal even against the will of his fellow passengers. The silver (now oxidised and hence darkened) depth of the water surrounding the ship is depicted in finely executed swirls of waves enlivened by large groups of fish, a sea turtle at the bottom right, and a pair of ducks at the bottom centre. In these dense waters, a sailing ship with retracted sails is shown, and the large group of people appear in stark and vivid contrast to the silvery water with their colourful and finely-patterned clothes and round turbans. In the front, on the left, the helmsman is shown slightly larger than the passengers, steering the ship with a long oar pole and rather unconcerned about the group of people behind him. The passengers are depicted in varying gestures, some raising their hands. Two figures appear to be looking up at the mast, on which a figure clad in blue is sitting who is plaintively tearing open his robe."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/a8775da0-4656-5e8a-8b8b-55db79c39690.jpg","display_order":8,"alt_text":null,"captions":{"ar":"صورة الغلاف: في الصفحة 73a، تُصوَّر في لوحة كبيرة تمتد إلى الهامش الخارجي مشهد محاولة زليخة إغراء يوسف داخل قصر رائع. أعلاه، يظهر سطر واحد وأربعة أبيات من النص، وأسفله أربعة أبيات أخرى تتناول سرد القصة. يوضح النص أن زليخة غطت تمثالها الرخامي بقطعة قماش حتى لا يشهد محاولتها إغراء يوسف. يرفض الشاب إغراءها قائلاً إنه كيف لا يخاف الله إذا كانت هي نفسها تخاف من صورة الله المصنوعة من الحجر. ومع ذلك، لم يلتزم الرسام بالنص بالكامل في هذا التكوين. يُزيَّن القصر الرائع بمجموعة متنوعة من البلاط الملون، والسجاد، واللوحات الجدارية الزخرفية والتمثيلية، والنقوش التهذيبية، وهو ما يتوافق مع وصف المبنى الذي أقامته زليخا خصيصًا لعشيقها، كما ذكر الشاعر الحرّاتي جَامِي (توفي 898 هـ / 1492 م) في ملحمته الرومانسية يوسف وزليخا. فقد زينته بصورها وصور يوسف في كل مكان، بحيث كلما دخل القصر، رآها أينما نظر. وبالتالي، فإن التنفيذ الفني هنا يلتزم بعمل جَامِي: في الوسط، يُصوَّر مكان جلوس ذهبي متقن يشبه العرش لشخصين، محاط بلوحات لامرأة ورجل بهالة نارية، يُفترض أنهما يوسف وزليخة. على اليمين، في غرفة أخرى، يحاول يوسف الفرار من قبضة زليخا. يرتدي رداءً أخضر وعمامة على الطراز الصفوي تحيط بها هالة نارية كدلالة على قدسيته. أعلاه، على لوحة جدارية لطائر سيمرغ الأسطوري، ربما لتأكيد مكانته العالية. على اليمين، زليخا نصف جاثية ومزينة بزخارف فاخرة، وقد كادت تنحني حتى الأرض، وما زالت تمسك بمعصم يوسف وردائه. بعيدًا عنهما، على الجانب الأيسر، يظهر بوّاب وخادم يحمل إناءً وكأنهما يتحدثان أمام باب القصر، محاطين بشرفة داخل حديقة غناء. في الخلفية، تظهر شجرة سرو عالية وشجرة مزهرة يقف فوق فروعها طيور ملونة. تزداد عظمة العمارة بظهور برج السطح المسطح للقصر الممتد إلى الهامش العلوي. الزخرفة المعمارية الغنية تذكّر بتقاليد البناء التبريزية منذ العصر الإيلخاني، ما يوفر دلالة على مكان نشأة هذه المخطوطة.","en":"Fol. 73a depicts in a large painting extending into the outer margin the scene of Zulaikha trying to seduce Yusuf in a magnificent palace. Above the painting, one line and four verses of text, and below the painting, four verses of text are kept that relate the story. The text explains that Zulaikha has covered her marble idol with a cloth so that it cannot witness her seducing Yusuf. The youth rebuffs her by asking how he cannot fear God if she is already scared of the image of Him made of stone. The painter, however, did not adhere entirely to the text in this composition. The magnificent palace is decorated with a variety of colourful tiles, carpets, ornamental as well as figural wall paintings, and pious inscriptions, which corresponds to the descriptions of the building that Zulaikha erected especially for her lover, given by the *Herati* poet Jami (died 898 AH / 1492 AD) in his romantic epic *Yusuf u Zulaikha*. She had decorated it with pictures of herself and Yusuf everywhere, so that as soon as he entered the palace, he saw her wherever he looked. As such, this painterly execution faithfully adheres to Jami’s work: an elaborately throne-like golden resting place for two is depicted in the centre, surrounded by paintings of a lady and a man with a flaming halo, presumably Yusuf and Zulaikha. On the right, in another room, Yusuf is trying to escape from Zulaikha’s grip. He is wearing a green robe and a staff turban surrounded by a fiery halo as a sign of his holiness. Above him, on a wall painting of a Simurgh, the legendary bird, potentially emphasising his high status. On the right, a luxuriously-dressed but half-kneeling Zulaikha has almost sunk to the floor, still grasping Yusuf’s wrist and his cloak. Far removed from them, on the left side, the gatekeeper and a servant bearing a jug appear to be conversing before the door to the palace, surrounded by a terrace within a lush garden. In the background, a high cypress and a flowering tree with colourful birds perched atop their branches, is shown. The grandeur of the architecture is further highlighted by the turret of the flat palace roof protruding into the upper margin. The rich architectural ornamentation is reminiscent of *Tabrizi* building traditions since the Ilkhanid period, providing a clue to the place of origin of this manuscript."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/f9b69caf-705a-5096-b33d-7161ec8bc97d.jpg","display_order":9,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/b70f7820-2461-509e-b583-6f828b7cd053.jpg","display_order":10,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/0e6c77b4-cb4a-5bc4-80dc-8273ad79316e.jpg","display_order":11,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["73629243-5724-5991-9444-5393f6b78050","fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["29eaeead-971d-5ced-a2f3-a650a47f04ff"],"glossary_ids":["3fd5d8e5-d6d9-5084-a7bc-f270946f8c24","455c1318-16a9-50f2-9c44-6643a9de238c","9c5b0b5e-062a-5b06-ace2-d6a40e4d5cb9","a0a0b21a-5425-5de1-8d04-b7fd7daeca8b","c2953466-916b-57e9-9f3b-409c9af9afa1","f3052f85-4db5-5572-a790-f3dc9a248659"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"8635ee08-9015-5583-8d09-526c932e8d36","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:56","kind":"exhibition","slug":"water_in_islam","legacy_host":"https://exhibitions.museumwnf.org","name":"Water 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02","start_date":1600,"end_date":1700,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/d9f2d0c5-5bc8-5497-812f-b4e990add650.jpg","display_order":1,"alt_text":null,"captions":{"en":"This *nim-qalam* (half-pen) painting was likely created in the second half of the 17th century and depicts a portrait of a dignitary at the Mughal court. The standing figure’s head is shown in profile while the upper part of his body is in three-quarter view. The man has a black moustache, a clipped beard and sports a small white turban decorated with coloured bands. He dons a bell-shaped, long white robe (*jama*) and a gold-edged purple sash (*patka*), the falling ends of which show broad gold borders embroidered with red flowers. Red and white striped tight trousers are also visible under the robe and his feet are clad in elegant yellow slippers that are open at the back. A red dagger with a green handle is sheathed in his belt and tucked under his forearm. Hanging from leather straps is a long green sword with a golden hilt and a green tassel which the portrayed man grasps with his left hand. The modelling of the folds, especially on the left arm and on the shoulder, is of fine plasticity. The painting is pasted on a cardboard frame and divided by two narrow borders from the larger outer margin. Around the painting is a golden foliate border on a blue background, followed by bright pink and red flowers on a green undulating vine on a yellow background. The broader outer margin consists of roses, anemones, carnations and several small butterflies and birds in gold painting. These are naturalistically executed on a yellowish pink ground within a black and gold contour line."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/b3367f8d-7233-56b3-9a6d-f1176f3f3a41.jpg","display_order":2,"alt_text":null,"captions":{"en":"This *nim-qalam* (half-pen) painting depicts a holy shepherd visited by an angel. The youthful shepherd, with a flaming aureole around his head, is sitting in an elevated position on the ground and leans on a long shepherd's crook bent at the top. To the left is a branched flowering shrub, and to the right, kneeling in front of the shepherd, is an angel presenting him with a covered bowl on a round tray. In the background one can see sheep grazing by a stream and behind them are hills and rocks with sparse vegetation. On the right, upon the hilltop, is a domed building with a man squatting in front of it. Above the horizon, a small bird is visible, and in the sky lays a Chinese-style cloud with the artist's signature barely visible to the naked eye. This is referred to by the French owner's inscription on the back of the cardboard, which says \"Signé par Abbas Chirazi, date 1060 (A.H.) 1640 de notre date\". The delicate gilding of the shepherd's aureole, of his waist band and of the angel's vessel, are still faintly visible. In contrast, the brown branches and the trunk of the bush as well as the black shepherd's crook are very bold compared to the overall delicate nature of the illustration. This visual difference shows that these details may have been added later. Judging by its overall style, this image could have been made as early as the 16th century. The city vedutas in the background suggest a European inspiration, while the three-quarter profile of the two figures also reveal connections to Persian Safavid single-leaf drawings. Such pen-and-brush drawings with very sparse use of colours and gilding were created in the Mughal Empire inspired by European drawings and engravings from the late 16th century onwards that have also survived in abundance from the 17th century. The artist's signature here could either be read as “Abbas Shirazi” or “Kamtarin Asheq-e Shirazi” (“the smallest love of Shiraz”) but the specific date of its production is not clearly legible. The aesthetic depiction of the subject is difficult to determine as it could be referencing a Christian motif, or an Indian legend such as that of Ibrahim (b. Adham), a legendary sultan of Balkh. Balkh retreated into solitude as a hermit and angels were said to have brought food and refreshments at night. Similar motifs such as the second male figure away from the central depiction are found in MS M.458.32 (The Morgan Library). It could also be a combination of several traditions; Ibrahim Sultan of the Indian story is not depicted as a hermit, but as a Christian \"Good Shepherd\" since animals do not appear in comparable miniatures of this Indian subject. The pen drawing thus may integrate a free adaptation of this Christian motif. Overall however, the cardboard frame includes arabesques drawn with gold lines on a light pink ground. They are freely distributed and join together to form agraffes from which curved flower and leaf tendrils extend. The ornamentation has been restored in some places, which suggests that it is a secondary use of this cardboard support."},"photographer":null,"copyright":"ANL"},{"url":"https://inventory.metanull.eu/pub/b72f70ef-9b2c-5e4b-bec5-4a6292663b27.jpg","display_order":3,"alt_text":null,"captions":{},"photographer":null,"copyright":"ANL"}],"tag_ids":["fa0deb2b-6423-58bb-ae98-288cf61756c8","8f28215c-284d-5680-8235-477b003ec8c9","6c6706e2-03ad-581b-8458-9f863db19398","452f90e3-94b6-5a42-8488-d1cc810d7652","c4f331e0-834f-5bb3-830a-874797b5a242"],"dynasty_ids":["b866c59b-f81b-5655-972c-c4ac569b959e"],"glossary_ids":["76676210-58c4-5de1-89e6-594e4175ceac"],"artist_names":[],"media":[],"related_items":[],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en"]},{"id":"9046e802-e0a4-5cd0-ad42-5b6b93278655","type":"object","internal_name":"Two pages from a Qu’ran.","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:1","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"ee0a71f8-dc12-5d5d-b02a-4402969e8274","country_id":"tun","owner_reference":"P 208","mwnf_reference":"TN 01","start_date":775,"end_date":825,"latitude":null,"longitude":null,"images":[{"url":"https://inventory.metanull.eu/pub/867103ec-ed6f-5951-b027-e833506e4d8d.jpg","display_order":1,"alt_text":null,"captions":{},"photographer":null,"copyright":null}],"tag_ids":["0e5e0597-c91f-5b03-81ed-d99eedaef625","ae00ec97-371f-50a0-a793-494d36453d82","8f28215c-284d-5680-8235-477b003ec8c9","7f5a6b74-ea52-5b80-a54c-d474da5956ab","c9d77b1b-fdcd-545f-99ac-a099fe0ddf06","dff4888b-d395-59e8-afaa-53d1ba9aee69","c4f331e0-834f-5bb3-830a-874797b5a242","5f655333-6517-5ce6-bcb2-ecd2487496c6"],"dynasty_ids":["1d206364-a251-5fda-81dc-54a09e646e5e"],"glossary_ids":["070e713b-f503-5f87-be41-16cb73c070b4","0f3fb66d-a491-591b-a0c2-56e11ec481aa","2fb79a2a-639b-5703-9b25-ab627b16aef8","38031924-6b4f-5fb1-9337-c0222f9b16d2","44562f82-b0b6-5353-939a-47fccfb7fa3c","455c1318-16a9-50f2-9c44-6643a9de238c","5c212d06-15e4-5918-a02d-bb0ef2c59fe1","95fc5a14-1b29-5364-810a-69fc76087256","a95bf8cd-02b1-5d88-b68d-c21999469de6","c2953466-916b-57e9-9f3b-409c9af9afa1","c77b27a2-a0b9-5b4b-903b-008ba93b0842","e0e8a76f-5937-523a-b87b-6d2a0c6528d7","ee2f26d8-e2ea-53a3-b764-2204e426e058","fb4643f3-3421-5aaa-8b4f-85806f394bac"],"artist_names":[],"media":[],"related_items":[{"id":"31eb9c11-7709-5c38-97a0-7eefad40702d","backward_compatibility":"mwnf3:monuments:ISL:tn:Mon01:16","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"عرض المصحف في متحف باردو حتى نقل إلى متحف الفن الإسلامي في الرقادة في عام 1959","en":"The Qur’an was exhibited in the Bardo Museum until it was moved to the Museum of Islamic Art in Raqqada in 1959.","fr":"Ce coran était exposé au musée. Ce n’est qu’en 1959 qu’il a été transféré au Musée des arts islamiques de Raqqada.","es":"Este Corán fue expuesto en el Museo Nacional del Bardo hasta 1959, año en que fue transferido al Museo de arte islámico de Raqqada."}},{"id":"4ca47641-f0ff-50a2-a7c3-b3adf3abb210","backward_compatibility":"mwnf3:objects:ISL:pa:Mus01:9","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":true,"justifications":{"ar":"النصين بالخط الكوفي متشابهان و كلاهما يعودان للعصر العباسي.","en":"The *kufic* scripts used are similar, and both date to the Abbasid era.","fr":"Ces corans s’apparentent par leur écriture coufique. En outre, ils datent de la même époque abbasside.","es":"Podemos ver que las escrituras cúficas utilizadas tienen similitudes estéticas. En adición, ambas escrituras datan de la misma época abbasí."}},{"id":"824bc44a-ecba-5266-8efa-c68c70d08dec","backward_compatibility":"mwnf3:monuments:ISL:tn:Mon01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","in_package":false,"justifications":{"ar":"تم تقديم هذا المصحف كهبة للمسجد الجامع في القيروان.","en":"This Qur’an was donated to the Great Mosque of Kairouan.","fr":"Ce coran a été offert en bien habous à la Grande Mosquée de Kairouan.","es":"Fue la Mezquita Mayor de Kairuán que recibió este Corán como donación."}}],"gallery_references":[{"id":"9642e7a5-e60a-5bb5-a1cb-2adcd44334b5","backward_compatibility":"mwnf3_thematic_gallery:thg_gallery:8","kind":"gallery","slug":"calligraphy","legacy_host":"https://calligraphy.museumwnf.org","name":"Calligraphy"}],"languages":["ar","en","es","fr"]},{"id":"edc14340-a97e-5565-a4cb-1ff1d239124a","type":"object","internal_name":"Two pages from the Blue Qur’an.","backward_compatibility":"mwnf3:objects:ISL:tn:Mus01:2","project_id":"61c122ac-ea86-5462-8bab-6b86138c49b2","partner_id":"ee0a71f8-dc12-5d5d-b02a-4402969e8274","country_id":"tun","owner_reference":"Rutbi 196","mwnf_reference":"TN 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