LaurieAnnie's photos with the keyword: illumination

Object Name: Album leaf Title: Shah Jahan Album Painter: Nanha Calligrapher: Mir 'Ali Reign: Jahangir (1605–27), verso Date: verso: ca. 1620 Geography: India Medium: Ink, opaque watercolor, and gold on paper Margins: Gold and opaque watercolor on dyed paper Dimensions: H: 15 5/16 in. (38.9 cm) W: 10 5/16 in. (26.2 cm) Classification: Codices Credit Line: Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955 Accession Number: 55.121.10.36 Text from: www.metmuseum.org/Works_of_Art/collection_database/islami...

Object Name: Album leaf Title: Shah Jahan Album Painter: Nanha Calligrapher: Mir 'Ali Reign: Jahangir (1605–27), verso Date: verso: ca. 1620 Geography: India Medium: Ink, opaque watercolor, and gold on paper Margins: Gold and opaque watercolor on dyed paper Dimensions: H: 15 5/16 in. (38.9 cm) W: 10 5/16 in. (26.2 cm) Classification: Codices Credit Line: Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955 Accession Number: 55.121.10.36 Text from: www.metmuseum.org/Works_of_Art/collection_database/islami...

Object Name: Album leaf Title: Shah Jahan Album Painter: Nanha Calligrapher: Mir 'Ali Reign: Jahangir (1605–27), verso Date: verso: ca. 1620 Geography: India Medium: Ink, opaque watercolor, and gold on paper Margins: Gold and opaque watercolor on dyed paper Dimensions: H: 15 5/16 in. (38.9 cm) W: 10 5/16 in. (26.2 cm) Classification: Codices Credit Line: Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955 Accession Number: 55.121.10.36 Text from: www.metmuseum.org/Works_of_Art/collection_database/islami...

Tahmuras Defeats the Divs: From the Shahnama (Book of Kings) of Shah Tahmasp, ca. 1522–24 Attributed to Sultan Muhammad (Iranian, active first half of 16th century) Iran, Tabriz Colors, ink, silver, and gold on paper 22 1/2 x 12 9/16 in. (47.2 x 31.9 cm) Gift of Arthur A. Houghton Jr., 1970 (1970.301.3) The fight against the obscure forces of evil, here personified by a horde of multicolored divs (demons), was among the most challenging tasks of the early kings of Iran. Tahmuras, who became known as the "div-binder," was the ruler who succeeded in subduing them. In order to have their lives spared, the divs promised to teach man the precious art of writing. This is how humankind learned various alphabets, including Arabic, Chinese, Greek, Persian, and Sogdian. This extraordinary painting, which has been attributed to Sultan Muhammad, reveals the penchant for experimentation that characterizes the work of Persian artists in this period. In addition to some foreshortenings and the depiction of figures in perspective, which probably imitate Western examples, the imagery of divs in this manuscript witnesses remarkable changes when compared to past illustrations. They become progressively anthropomorphized—by means of explicit sexualization—and incorporate traits of demons of Central Asian origin, which, we know, were circulating on both silk and paper in the royal library at Tabriz. Text from: www.metmuseum.org/toah/works-of-art/1970.301.3

Tahmuras Defeats the Divs: From the Shahnama (Book of Kings) of Shah Tahmasp, ca. 1522–24 Attributed to Sultan Muhammad (Iranian, active first half of 16th century) Iran, Tabriz Colors, ink, silver, and gold on paper 22 1/2 x 12 9/16 in. (47.2 x 31.9 cm) Gift of Arthur A. Houghton Jr., 1970 (1970.301.3) The fight against the obscure forces of evil, here personified by a horde of multicolored divs (demons), was among the most challenging tasks of the early kings of Iran. Tahmuras, who became known as the "div-binder," was the ruler who succeeded in subduing them. In order to have their lives spared, the divs promised to teach man the precious art of writing. This is how humankind learned various alphabets, including Arabic, Chinese, Greek, Persian, and Sogdian. This extraordinary painting, which has been attributed to Sultan Muhammad, reveals the penchant for experimentation that characterizes the work of Persian artists in this period. In addition to some foreshortenings and the depiction of figures in perspective, which probably imitate Western examples, the imagery of divs in this manuscript witnesses remarkable changes when compared to past illustrations. They become progressively anthropomorphized—by means of explicit sexualization—and incorporate traits of demons of Central Asian origin, which, we know, were circulating on both silk and paper in the royal library at Tabriz. Text from: www.metmuseum.org/toah/works-of-art/1970.301.3

Object Name: Album leaf Title: Shah Jahan Album Painter: Nanha Calligrapher: Mir 'Ali Reign: Jahangir (1605–27), verso Date: verso: ca. 1620 Geography: India Medium: Ink, opaque watercolor, and gold on paper Margins: Gold and opaque watercolor on dyed paper Dimensions: H: 15 5/16 in. (38.9 cm) W: 10 5/16 in. (26.2 cm) Classification: Codices Credit Line: Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955 Accession Number: 55.121.10.36 Text from: www.metmuseum.org/Works_of_Art/collection_database/islami...

Artist: Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France, by 1399–1416) Title: The Belles Heures of Jean de France, Duc de Berry Date: 1405–1408/1409 Geography: Made in Paris, France Culture: French Medium: Tempera and gold leaf on vellum Dimensions: Single leaf, Overall: 9 3/8 x 6 11/16 in. (23.8 x 17 cm); Double leaf, Overall: 9 3/8 x 13 7/16 in. (23.8 x 34.1 cm) Classification: Manuscripts & Illuminations Credit Line: The Cloisters Collection, 1954 Accession Number: 54.1.1 Description: Completed by 1408 or 1409, probably in Paris, "The Belles Heures," a private devotional book, was the first of several sumptuous manuscripts commissioned by the duke of Berry from the Limbourg brothers, Pol, Jean, and Herman. It is perhaps the only virtually complete and stylistically consistent prayer book to survive from the duke's extraordinary library. The richly illustrated text is amplified by unusual cycles reflecting the duke's personal interests. Using a luminous palette, the artists blended an intimate Northern vision of nature with Italianate modes of figural articulation. The keen interest in the natural world and the naturalistic means of representing it, so striking in ninety-four full-page and fifty-four column illuminations, foreshadow the work of Jan van Eyck and the ensuing generations of outstanding fifteenth-century painters in the South Netherlands. Text from: www.metmuseum.org/Works_of_Art/collection_database/the_cl...

Artist: Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France, by 1399–1416) Title: The Belles Heures of Jean de France, Duc de Berry Date: 1405–1408/1409 Geography: Made in Paris, France Culture: French Medium: Tempera and gold leaf on vellum Dimensions: Single leaf, Overall: 9 3/8 x 6 11/16 in. (23.8 x 17 cm); Double leaf, Overall: 9 3/8 x 13 7/16 in. (23.8 x 34.1 cm) Classification: Manuscripts & Illuminations Credit Line: The Cloisters Collection, 1954 Accession Number: 54.1.1 Description: Completed by 1408 or 1409, probably in Paris, "The Belles Heures," a private devotional book, was the first of several sumptuous manuscripts commissioned by the duke of Berry from the Limbourg brothers, Pol, Jean, and Herman. It is perhaps the only virtually complete and stylistically consistent prayer book to survive from the duke's extraordinary library. The richly illustrated text is amplified by unusual cycles reflecting the duke's personal interests. Using a luminous palette, the artists blended an intimate Northern vision of nature with Italianate modes of figural articulation. The keen interest in the natural world and the naturalistic means of representing it, so striking in ninety-four full-page and fifty-four column illuminations, foreshadow the work of Jan van Eyck and the ensuing generations of outstanding fifteenth-century painters in the South Netherlands. Text from: www.metmuseum.org/Works_of_Art/collection_database/the_cl...