Islamic Miniatures Paintings in Gold

World Map Red box marks the area of Central and West Asia.

Central and West Asia Central and West Asia come under the control of the Timurids ( ), who rule over a large and important region for just over a hundred years. Encompasses present-day Afghanistan, China (Xinjiang Province), Kazakhstan, Kyrgyzstan, Mongolia, eastern Russia, Tajikistan, Turkmenistan, and Uzbekistan

Important Facts The Timurids were the final great dynasty to emerge from the Central Asian steppe. By bringing craftsmen from different conquered lands to his capital in Samarqand, Timur initiated one of the most brilliant periods in Islamic art Perhaps the most outstanding characteristic of Islamic art is the fondness for all-over surface decoration. Album leaf, 17th century; Ottoman Turkey Ink, colors, and gold on paper 9 5/8 x 7 in. (24.3 x 17.9 cm) Louis V. Bell Fund, 1967 ( r)

Calligraphy The Four Basic Components of Islamic Ornament Mosque lamp, first quarter of 16th century; Ottoman Anatolia (Iznik) Composite body, opaque white glaze, underglaze painted H. 6 5/8 (16.8 cm), W. 5 11/16 in. (14.5 cm) Harris Brisbane Dick Fund, 1959 ( )

Vegetal Patterns The upper register shows a pattern of alternating blossoms and buds within a scrolling vine, and the lower register has a floral scroll with a six-petaled rosette. The Four Basic Components of Islamic Ornament Tile with an image of a phoenix, Ilkhanid period (1206–1353) late 13th century Iran, probably Takht-i Sulaiman Stonepaste; modeled, underglaze painted in blue and turquoise, luster painted on opaque white ground H. 14 3/4 in. (37.5 cm), W. 14 1/4 in. (36.2 cm) Rogers Fund, 1912 ( )

Geometric Patterns The Four Basic Components of Islamic Ornament Tile assemblage, first half of 13th century; Seljuq Anatolia Composite body, overglaze-painted Max. Diam. 9 3/16 in. (23.3 cm) Gift of Mr. and Mrs. Jack A. Josephson, 1976 ( )

The Four Basic Components of Islamic Ornament Figural Representation Animal and Human Dappled Stallion, late 16th century Habib Allah (Mashhad and Isfahan, Iran, late 16th–early 17th century) Mashhad, Iran Ink, opaque colors, and gold on paper 11 7/8 x 8 in. (19.7 x 12.7 cm) Purchase, Louis E. and Theresa S. Seley Purchase Fund for Islamic Art, The Edward Joseph Gallagher III Memorial Collection, Edward J. Gallagher Jr. Bequest and Richard S. Perkins and Margaret Mushekian Gifts, 1992 ( )

"Layla and Majnun in School", Folio from a Khamsa (Quintet) of Nizami (probably 1141–1217)

Binding: From a manuscript of the Mantiq al-TayrBinding: From a manuscript of the Mantiq al-Tayr (The Language of the Birds) of Farid al-Din c Attar, ca. 1600; Safavid Iran (Isfahan) Tooled and stamped leather on paper, gold, opaque watercolor 23 3/10 x 13.1/10 in. (59.2 x 33.2 cm) Fletcher Fund, 1963 ( )

View of the manuscript containing Layla and Majnun at School

The production of illustrated books was concentrated in royal workshops because of the large expense involved. Many rulers were connoisseurs who collected books and paintings by famous artists. Books were also financial investments, donated toward the endowment of charitable foundations, and status symbols, presented as gifts between heads of state. Khusrau Seated on his Throne, Folio from a Khamsa (Quintet) of Nizami Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja) (probably 1141–1217) Calligrapher: Sultan Muhammad Nur (ca. 1472–ca and Mahmud Muzahhib Artist: Painting by Shaikh Zada Folio from an illustrated manuscript Ink, opaque watercolor, and gold on paper Dimensions: Page: H. 12 5/8 in. (32.1 cm) W. 8 3/4 in. (22.2 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm)

A School Scene Iran, 1530–1550 Opaque watercolor, ink, and gold on paper 37.2 x 23.9 cm Arthur M. Sackler Gallery, Smithsonian Institution Purchase—Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Dr. Arthur M. Sackler, s This painting illustrates a number of finely detailed scenes that take place in a madrasa (school), including a master teaching his students, a group of students copying text, a craftsman making paper, and several men cooking.

A School Scene, detail First, artists needed to make paper. In the Islamic world, paper was made from rags of linen and hemp, not tree pulp. The rags were cut into strips and softened in limewater, then pounded into a pulp and soaked in a vat. To form a sheet of paper, a rectangular mold was placed into the vat and then left to dry. The water seeped out and the page hardened in the mold. Decorative touches were often added to the paper: some were tinted, some were sprinkled with gold, and others were marbled. Marbled papers were created by dispensing drops of colorant onto the surface of a water bath and running combs through the drops to create a pattern; a sheet of paper was then laid on the surface of the bath to absorb the colors. After drying, the paper was prepared to receive ink and paint with the application of a starchy solution that rendered the surface smooth and nonporous.

A scribe then prepared his ink (made of carbon boiled with gallnuts), made his pens, and pressed guidelines into the paper. He then copied the text, leaving spaces for illustrations where the director of the workshop had indicated. A School Scene, detail

Artist Materials Pen box, 13th century Pen box, 13th century Western Iran or northern Iraq (al-Jazira) Brass inlaid with gold and silver H. 1 5/8 in. (4.1 cm), L. 8 3/4 in. (22.2 cm) Gift of Mrs. Lucy W. Drexel, 1889 ( ) gallnuts lapis lazuli orpiment Mineral sources were gold, silver, lapis lazuli, ground cinnabar (for vermilion), orpiment (for yellow), and malachite (for green). These materials were expensive and substitutes were often used. Indigo was a common source of dark blue and azurite was used for a lighter blue. Verdigris produced green, and lead or a combination of mercury and sulfur created red.

After the text was completed, the pages passed to the painters. Most manuscripts were the work of a number of artists, each chosen to illustrate a particular scene; some artists, for instance, were known for their portraits, others for their battle scenes. A single page might also represent a collaborative effort, as junior artists were called upon to fill in backgrounds and landscapes. Before starting to paint, the artist laid out the composition with a very fine brush. "Nushirvan Eating Food Brought by the Sons of Mahbud", Folio from a Shahnama (Book of Kings) Abu'l Qasim Firdausi (935–1020) Object Name: Folio from an illustrated manuscript 1330s Iran, Tabriz Ink, opaque watercolor, and gold on paper Page: H. 20 3/4 in. (52.7 cm) W. 15 1/8 in. (38.4 cm) Painting: H. 8 1/8 in. (20.6 cm) W. 9 1/8 in. (23.2 cm) Mat: H. 22 in. (55.9 cm) W. 16 in. (40.6 cm)

Afghanistan School Children Images form schools in more recent times.

Compare Then and Now What about your school? How would you paint a detail of it?