成吉思汗和他的四个儿子 - 现藏大英图书馆。

Genghis Khan with sons Ogodei and Jochi seated to his left

成吉思汗的第三个儿子元太宗窝阔台(Ogodei，1186—1241年)，又作斡歌歹，谔格德依等，是蒙古国第二大汗，攻宋灭金，横扫欧洲，可是晚年嗜酒如命。

• The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.

• This deluxe manuscript was first copied in Shiraz in 1411 during the governorship of Iskandar Sultan, grandson of Timur and a great patron of the arts, particularly the arts of the book. Spaces for miniatures elsewhere in the volume were left blank and subsequently filled in by Turkman Aq Quyunlu and Ottoman painters, providing a chronicle for the manuscript's travels. The fine nasta'liq is from the hand of a celebrated scribe who was responsible for a number of Shiraz manuscripts dating between 1405 and 1429.

• One of the best-known stories of Nizami’s Khamsa (Quintet) is that of Laila and Majnun, a tale akin to that of the star-crossed lovers Romeo and Juliet. This folio illustrates their meeting at the madrasa (school) where they fall in love at first sight. In addition to the young lovers, this highly detailed painting depicts activities typical of the sixteenthcentury schoolyard—with children burnishing paper, practicing their penmanship, and reading various types of books. Although the story takes place in Arabia, the architectural setting is quintessentially Persian.

• The Khamsa of Nizami, written between 1298 and 1302, is a canonical work of Persian literature. One of the five poems within it tells the story of Alexander the Great, who is identified as the half-brother of the Persian king Darab in various histories. By presenting Alexander in this manner, the audience was able to identify with its ancestors’ conqueror. Although the story took place in the fourth century BC, the objects that appear in this feast (bazm) scene provide an insight into the types of luxury objects and musical instruments that were in use at the time that the manuscript was produced. The figures wear their turbans in the style typical of Safavid Iran, with twelve folds wrapped around a baton to symbolize the twelve Shi’i imams.

• This folio once illustrated a magnificent manuscript of Nizami’s Haft Paikar (Seven Portraits). The story of the Seven Portraits comprises a series of moralizing tales as told to the Persian hero Bahram Gur by seven princesses. This lively and lyrical scene illustrates a story in which a youth spies upon maidens swimming in a garden pool by moonlight. The voyeur is barely visible here, peering out of the shuttered window, unbeknownst to the playful bathers below.

• The Haft Paikar (Seven Portraits) is one of the five poems of the Khamsa of Nizami. The poetry is mystical, illustrating the supremacy of divine love over earthly pleasures. In the story, Bahram Gur marries seven princesses from the seven regions of the world and visits each one in her own pavilion on successive nights. The various elements of this scene are all shown in the perspective that makes them the most easily intelligible. The foreground appears tipped up to emphasize the shape of the fountain, which was painted in silver that has since oxidized, and the polygonal cap dome is shown from a different angle than that of the flat roof on which it sits. Although this manuscript was completed in the early Safavid period, it displays a continuity with the painting styles of Timurid Herat. The artist, Shaikh Zada, was a pupil of the master painter Bihzad.

"Bahram Gur in the Yellow Palace on Sunday", Folio 213 from a Khamsa (Quintet) of Nizami。A.H. 931/A.D. 1524–25

• The fourth of the late twelfth-century Persian poet Nizami's five epic poems, later combined to form the famous Khamsa (Quintet), was the Haft Paikar, or Seven Portraits, so named from one incident in the story. It recounts the legendary history of the Sasanian king Bahram Gur, who is idealized as a great lover and hunter. The story is known also as the Seven Princesses because Bahram Gur, so the story goes, married seven beautiful princesses from the seven regions of the world, and visited each in her own pavilion on successive nights of the week. In this highly sensual but moralistic work, each princess tells a story and there are additional stories within these.

• This scene takes place totally within the pavilion. The attendants, in their relaxed tête-à- tête, pay little attention to the royal couple who seem engrossed with one another. While the text calls for everything to be in red, the artist has used the color to unite the composition.

• The artist has used the color black, which according to the text, should be all-pervasive, with elegant restraint. He has, like a skilled haute-couturier, avoided somberness and set off the black by contrasting it with both bright colors and light shades. Also its use in each costume and in the dome and spandrels of the architecture effectively unifies the composition. The air of courtly leisure in this miniature is particularly apparent.

• The arrangement of this miniature is close to that of Bahram Gur in the black pavilion, in that the building, except for a touch of blue sky here, takes up the entire picture space. In addition, the same two ladies playing musical instruments appear in both compositions in reversed positions. However, there are individual elements in this painting, based on the text of the poem. There Bahram Gur is described as dressing in purest white and wearing a white feather in his turban. The princess is described as having pots of lilies and narcissus at her feet, their white petals not as white as her skin.

• The artist has achieved superb color harmony while still conveying the darkness of the pavilion required by the text. The perfection of such patterns as the tile work, and such details as the trays holding bottles, cups and fruit for the royal pair are characteristic of the supremely high quality of these Herat miniatures.

Persian Miniature Painting Persian King And Queen Handmade Miniature Painting

Saki, album miniature by Reza Abbasi, 1609

Complex palace scene, 1539–1543, Mir Sayyid Ali

揭开波斯艺术的神秘面纱--细密画

托普卡比博物馆中的40件元青花

伊朗四十柱宫里的细密画。

受中国鬼故事影响的伊朗细密画 - 两鬼图中的一鬼 - 手握一青花宝瓶 - 美国傅里叶博物馆藏品 - Two demons, fettered. Museum: Freer Gallery of Art, Washington, D. C. Timurid period, 15th century.Timurid princes were passionate collectors of Chinese luxury goods, a practice that inspired local artists to experiment with the new styles and motifs found on such imports and to integrate them into their own work. One intriguing and enigmatic series of drawings and paintings that incorporates Chinese pictorial conventions shows monsters and demons (div) in various activities and poses. These wild, highly expressive creatures contrast sharply with the elegant and emotionally reserved men and women typically seen in Timurid paintings and recall Central Asian and Chinese models and techniques. Frequently, the demons appear with familiar objects, as seen in this remarkable tinted drawing. The one on the right, for instance, plays a spiked fiddle (kamancha), a musical instrument that was popular in Iran and Central Asia. His companion holds a gold cup and a Chinese blue-and-white bottle decorated with a writhing dragon. The style and technique of drawing also owes more to Chinese than Persian pictorial conventions. Both ferocious and comical, these fantastic figures are among the most distinct and powerful images created during the fifteenth century.

流于世俗宗教和色情传说中的印度细密画 - India, Deccan, Hyderabad; c. 1720-1740。Miniature: 27.6 × 18.4 cm。The miniature’s motif comes from Nizami’s famous romance about Khusraw and Shirin that was written in Iran at the end of the 12th century. This painting, which was never part of a manuscript, was made in Hyderabad, a state that was created in the Deccan in around 1725 after the Mughal Empire had begun to disintegrate. The two protagonists and the slightly smaller minor characters – the men in Persian garb, the women in more Indian attire – were placed in a charming puppet-theater landscape that ranges from apple green to violet, with buildings that are completely out of proportion with their surroundings. The style truly lives up to the slightly eccentric reputation of art from the Deccan.